PAN’S LABYRINTH is filmmaker Guillermo del … · Web viewTitle PAN’S LABYRINTH is filmmaker...
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presents PAN’S LABYRINTH Production Notes www.panslabyrinth.com Publicity materials are available at: http://extranet.picturehouse.com login – adpub, password – download Running Time: 112 minutes Rating: R for graphic violence and some language 1
Transcript of PAN’S LABYRINTH is filmmaker Guillermo del … · Web viewTitle PAN’S LABYRINTH is filmmaker...
presents
PAN’S LABYRINTH
Production Notes
www.panslabyrinth.com
Publicity materials are available at:http://extranet.picturehouse.com
login – adpub, password – download
Running Time: 112 minutes Rating: R for graphic violence and some language
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PRESS CONTACTSNEW YORKJeff Hill/Jessica UzzanInternational House of Publicity(212) [email protected] [email protected]
Mary Ann HultPicturehouse(212) [email protected]
LOS ANGELESMichele Robertson/Clay DollarhideMRC(310) [email protected] [email protected]
Veronica BufaliniPicturehouse(310) [email protected]
FIELDElizabeth BrambillaPicturehouse(212) [email protected]
Vicky EguiaPicturehouse(310) [email protected]
For more information about Picturehouse please visit www.picturehouse.com
PAN’S LABYRINTH
SYNOPSIS
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Award-winning filmmaker Guillermo del Toro delivers a unique, richly
imagined epic with PAN’S LABYRINTH, a gothic fairy tale set against the postwar
repression of Franco’s Spain. Del Toro’s sixth and most ambitious film, PAN’S
LABYRINTH combines the historic and moral themes of his acclaimed Spanish Civil
War ghost story THE DEVIL’S BACKBONE with the protean visual creativity and
gripping dynamics of such previous films as HELLBOY and BLADE II. Harnessing the
formal characteristics of classic folklore to a 20th Century landscape, del Toro delivers
a timeless tale of good and evil, bravery and sacrifice, love and loss.
PAN’S LABYRINTH unfolds through the eyes of Ofelia, a dreamy little girl who
is uprooted to a rural military outpost commanded by her new stepfather. Powerless
and lonely in a place of unfathomable cruelty, Ofelia lives out her own dark fable as
she confronts monsters both otherworldly and human. As Ofelia, the gifted young
Spanish actress Ivana Baquero holds the screen with a remarkable combination of
innocence and maturity, vulnerability and strength. Baquero is joined by a superb
cast that includes international stars Sergí Lopez (DIRTY PRETTY THINGS), Maribel
Verdú (Y TU MAMÁ TAMBIÉN) and Ariadna Gil (BELLE ÉPOQUE), as well as frequent
del Toro collaborator Doug Jones (HELLBOY).
A lone automobile travels a narrow road in the Spanish countryside in 1944.
In the back seat, a little girl named Ofelia (Ivana Baquero) and her mother Carmen
(Ariadna Gil) are on their way to their new home. A bright and dreamy little girl,
Ofelia keeps her precious books of fairy tales close at hand, despite Carmen’s gentle
admonition that it may be time for her to put away these childhood favorites. It is
unlikely that such pastimes will meet the approval of Ofelia’s new stepfather, Captain
Vidal (Sergí Lopez). And Carmen, who is pregnant with the captain’s child, is anxious
for her daughter to get along with the man to whom she has entrusted their future.
But for Ofelia, fables of good and evil, magic and danger are more than simple
entertainment. They are her window onto the world, awakening her to life’s
everyday possibilities and mysteries. When a dragonfly captures Ofelia’s attention
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during a roadside stop, it is not a gangly insect that she follows into the woods but a
glistening emerald ambassador, welcoming her to its domain.
There is little sense of welcome, however, when Ofelia and her mother finally
arrive at their destination, an abandoned mill in rural Spain that Vidal has converted
into a military headquarters. Though Captain Vidal is there to greet them, his
annoyance at their late arrival is palpable. Indeed, there is nothing in the officer’s
cold, exacting demeanor to suggest that he wishes to be a parent to Ofelia, whose
own father died several years ago. What Vidal wants is the son that Carmen is
carrying, not a family.
On the grounds of the mill, armed soldiers are everywhere. Charged with
rooting out resistance fighters in the nearby mountains, Vidal and his troops
zealously pursue any and all signs of their opponents. Thus far, the rebels have
managed elude capture, though fascists have solidified their power in the region.
Those local people who clean and cook for the soldiers do their work quietly,
speaking only when they are spoken to. Carmen, her condition already precarious,
grows even sicker and is soon confined to her bed.
In this tense and fearful environment, Ofelia finds a sympathetic presence in
the housekeeper Mercedes (Maribel Verdú), who shows her a rambling, neglected old
garden near the mill. With its winding paths, it is a lovely place to wander, though
one can easily become lost there after nightfall.
That garden labyrinth will become Ofelia’s haven, a dark refuge from
loneliness and sorrow. It is a place of fantastical creatures and powerful talismans,
presided over by a teasing, inscrutable Faun (Doug Jones). Here, Ofelia will come to
terms with the world as she now knows it – and with the monsters that live not only
in her imagination, but in her daily life.
Picturehouse presents PAN’S LABYRINTH. Written, produced and directed by
Guillermo del Toro. Produced by Bertha Navarro, Alfonso Cuarón, Frida Torresblanco,
and Álvaro Augustin. Director of photography Guillermo Navarro, ASC. Edited by
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Bernat Vilaplana. Production designer Eugenio Caballero. Set construction by
Construcciones Escenicas Moya S.I. Music by Javier Navarrete. Sound designer
Martín Hernandez, sound by Miguel Polo. Special effects make-up and animatronics
by DDT FX, digital effects by CafeFX, and physical effects by Reyes Abades.
Executive producers Belen Atienza and Elena Manrique, co-executive producer
Edmundo Gil, associate Producer CafeFX. Produced in association with Sententia
Entertainment. Casting by Sara Bilbatua. Wardrobe design by Lala Huete. Starring
Sergí Lopez, Maribel Verdú, Ivana Baquero, Alex Angulo, Doug Jones, Eusebio Lazaro,
and Paco Vidal. With the special collaboration of Federico Luppi and, in the role of
Carmen, Ariadna Gil.
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PAN’S LABYRINTH
CREDITS
A FILM BYGUILLERMO DEL TORO
GUILLERMO DEL TORO
PRODUCED BYBERTHA NAVARROALFONSO CUARÓN
FRIDA TORRESBLANCOALVARO AUGUSTIN
PHOTOGRAPHY DIRECTORGUILLERMO NAVARRO, ASC
FILM EDITORBERNAT VILAPLANA
PRODUCTION DESIGNEREUGENIO CABALLERO
SET BUILDERSCONSTRUCCIONES ESCENICAS MOYA S.I.
MUSIC BYJAVIER NAVARRETE
SOUND DESIGNERMARTIN HERNANDEZ
LIVE SOUNDMIGUEL POLO
DDT FX
DIGITAL EFFECTSCAFEFX, INC.
SPECIAL EFFECTSREYES ABADES
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EXECUTIVE PRODUCERSBELEN ATIENZA
ELENA MANRIQUE
EXECUTIVE CO-PRODUCEREDMUNDO GIL
ASSOCIATE PRODUCERCAFEFX, INC.
PRODUCED IN ASSOCIATION WITHSENTENTIA ENTERTAINMENT
CASTING SARA BILBATUA
COSTUME DESIGN BYLALA HUETE
SERGI LÓPEZ
MARIBEL VERDÚ
IVANA BAQUERO
ALEX ANGULO
DOUG JONES
EUSEBIO LAZARO
PACO VIDAL
SPECIAL COLLABORATION BYFEDERICO LUPPI
AND IN THE ROLE OF CARMENARIADNA GIL
OFELIA IVANA BAQUEROVIDAL SERGI LÓPEZ
MERCEDES MARIBEL VERDÚPAN DOUG JONES
DOCTOR ALEX ANGULOGARCES MANOLO SOLO
SERRANO CESAR VEAPEDRO ROGER CASAMAJOR
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EL TARTA IVAN MASSAGUEFRANCES GONZALO URIARTE
FATHER EUSEBIO LAZAROPRIEST PACO VIDALMAYOR JUANJO CUCALON
MAYOR'S WIFE LINA MIRAFIRST-AID BOSS MARIO ZORRILLA
CIVIL GUARD CAPTAIN SEBASTIAN HARODOCTOR'S WIFE MILA ESPIGA
CONCHITA PEPA PEDROCHEJACINTA MARÍA JESÚS GATOO
PAZ ANA SAEZTRIGO CHANI MARTIN
YOUNG MAN MILO TABOADAENGINEER FERNANDO ALBIZUMANAGER PEDRO G. MARZO
SERGEANT BAYONA JOSÉ LUIS TORRIJOPALE MAN DOUG JONES
YOUNG GUERRILLA IÑIGO GARCÉSYOUNG GUERRILLA 2 FERNANDO TIELVE
KING FEDERICO LUPPIOLD MAN CHICHO CAMPILLO
DIRECTOR GUILLERMO DEL TORO1ST UNIT DIRECTOR JORGE CALVO GONZÁLEZ
2ND UNIT DIRECTORS ALBERTO TERRONBORJA GRANDIO
3RD UNIT DIRECTORS KARIN MARZOCCHINIJORGE VEGAALEJANDRO GUTIERREZ GÓMEZ
SCRIPT CARMEN SORIANOASSISTANT DIRECTOR INTERN GALDER ARRIAGA
AMAURY VERGARA
GUILLERMO DEL TORO'S ASSISTANT YURI MONTERO
LINE PRODUCER VÍCTOR ALBARRÁNPRODUCTION MANAGER LEIRE AURRECOECHEA
SET COORDINATOR FERNANDA PLANA
ASSISTANT PRODUCTION COORDINATOR WENDY HULBERT
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ESTUDIOS PICASSO BUSINESS MANAGER LUCA A. GIAMMATTEOPRODUCTION ACCOUNTANT JAIME GÓMEZ
AUDITORS ELENA GARCĺA ESPINELCARLOS AYESA
1ST ASSISTANT ACCOUNTANT OLGA BLÁZQUEZASSISTANT ACCOUNTANTS MARILO CRUZ
YURI MONTEROHECTOR MONTOLIU
1ST ASSISTANT PRODUCER JAVIER MATEOS MORILLO2ND ASSISTANT PRODUCER LUIS MARIA REYES
PRODUCTION SECRETARY VIVIEN QUETGLASPRODUCTION ASSISTANTS CRISTINA CAMPOS
SILVIA ALONSOFERNANDA PLANAANA IZQUIERDOMARC DE BLAS
ASSISTANT PRODUCER INTERN MARCOS RAMBAL ORUETA
FILMING ASSISTANCE INÉS Ma MANRIQUEJUAN FERNANDEZ ISASI HECTOR UBONIGNACIO GUIJARROALVARO DIEZMARIANO GALLEGOJUAN ANTONIO PÉREZ ISRAEL HERRANZ ALONSO
LOCATION ASSISTANTS BEATRIZ PITALUIS BOTELLAMARIA TORRELLANICOLAS SOTOBARBARA ALLEGUEALBERTO TOMEIGNACIO RODRIGUEZASIER ANDUEZAMARTA BERRAONDOJOSÉ MIGUEL REALPACO CALZADOBARBARA YACOBI
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ON-SET NURSE MAYTE VILCHES
PHOTOGRAPHY DIRECTOR GUILLERMO NAVARRO, ASC"A" CAMERA ASSISTANT 1 JUAN LEIVA"A" CAMERA ASSISTANT 2 JON ELIZEGUI
"B" STEADICAM OPERATOR JAROMIR SEDINASTEADICAM STAND-IN BERNARDO ROSETTI
"B" CAMERA ASSISTANT 1 SERGIO DELGADO"C" CAMERA OPERATOR BRUCE SAINTCLAIRE
"C" CAMERA ASSISTANT 1 RODRIGO LÓPEZ"D" CAMERA OPERATOR DAVID DOMINGUEZ
"D" CAMERA ASSISTANT 1 PACO LASOCAMERA ASSISTANTS OLAF GUEMBE
ANTONIO BELÓNCAMERA PRODUCTION INTERN ALVARO GARCÍA
VIDEO TECHNICIANS ISABEL SECOSAIOA NADAL
STILL PHOTOGRAPHY TERESA ISASI
PRODUCTION DESIGNER EUGENIO CABALLEROSET DECORATOR PILAR REVUELTA
SET DESIGNER CARLOS GIMĖNEZCONCEPTUAL DESIGNER WILLIAM STOUT
ASSISTANT ART DIRECTORS GABRIEL LISTECARLOS ZARAGOZAALICIA CASTRO
ART ASSISTANT BORIS FERNÁNDEZDRAFTSMAN CARLOS REVUELTA
SET/STORYBORD DRAFTSMAN RAÚL MONGESET DRAFTSMEN RAÚL VILLARES
JAVIER VILLARIÑOSSET DRESSER MARÍA RODRÍGUEZ
ONSITE SET DRESSER LAURA MUSSOSET DRESSER ASSISTANT PHILIPPE GILBERT MAYANOBEFAIRYTALE ILLUSTRATION PABLO ECHEVERRÍA
ILLUSTRATION IN “LIBRO DE LAS ENCRUCIJADAS” ESTHER GILLIPROPSMASTER FEDERICO DEL CERRO
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STAGE MANAGER IÑAKI RUBIOPROPS BUILDERS HECTOR GIL
PATRICIA CUEVASASSISTANT PROPS BUILDERS JUAN ANTONIO TORRIJOS
ANAHI DENTI RAIMUNDO RUDILLA ROBERTO TORRALBA MARIO MARTIN CRESPOTANIA WAHLBECK MANUEL CHAMORROARTURO REVUELTA
SCULPTOR NICOLAS VILLARPROP BLACKSMITH LUCIANO ROMERO
SET CARPENTER ANGEL CASCAJARESSET PAINTER LUIS GÓMEZ
GRAPHIC DESIGNERS SERGIO ROZASNATALIA MONTES
SET ASSISTANT ARIEL MARGOLISSTAGEHANDS PEDRO BOBEANU
RADU DANIELCORTEZ BRISCASEYDOU DIA AZIZ ELBAAMTANASE CIPRIANDAVID IRUSTA HEROIU MARIANRADU MIHAIABDEL SENNAK
MODELER EMILIO RUIZADDITIONAL FICTION CATERVA
BINDING JESÚS CÓRTEZSET VEHICLES FRANCISCO PUECHE
VICENTE MOLINSSET CATERING RESTAURANTE CASA NICANOR
PANADERÍA QUADRA PANISPASTELERÍA FILIPINAS
DRIVERSCHEMA RUIZ OSCAR MORAJORGEOLIVERA LUIS PATIÑO
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MIGUEL SANCHEZ JR. JAVIER ROLDÁN GUILLERMO CUERVO JAVIER SANCHEZMIGUEL ÁNGEL LÓPEZ STEVENBRIAN HOWARD SUSANA MORALESFELIX BUENACHE MIGUEL SANCHEZMATĺAS PILAS FERNANDO HURTADOJUAN LUIS GRANDES MIGUELÓNANTONIO CALVO JULIÁN HERNÁNDEZ
CONSTRUCTION MANAGER RAMÓN MOYACONSTRUCTION COORDINATORS PEDRO DE LA FUENTE
JOSÉ LUIS MOYA HEAD CARPENTERS ANTONIO SEGURA FERNANDEZ
ENRIQUE ALBERTO FEITO SANTOS CARPENTERS MANUEL MARIN SEGURA
JOSÉ ANTONIO RAMOS MUÑOZJOSÉ TORRALBA CID CARLOS BODEGA SANCHEZ ANTONIO MOYA PALOMAR EMILIO CAÑUELO SOLACARLOS A. GÓMEZ RODRIGUEZFELIX SAMPABLO GARCÍAFREDDY GUZMANANTONIO MUÑOZ MARIN ANGEL RODRIGUEZ PEDROVIEJO RAUL DE LA FUENTE TORRALBAJESÚS Mª ANTÓN RODRIGUEZ ANGEL CASCAJARES HERANZMANUEL ANGEL MARIN MOYA BLAS DIAZ EXPOSITO ANDRES MARTINEZ DESCALZO MANUEL ROMERO ROMEROJUAN JOSÉ BARRIUSO MONTIELMARIANO BUITRAGO PÉREZ JOSÉ CAÑUELO SOLAALLOUCHE LEON MCGREGOR FRANCISCO JAVIER HERNANDEZ
HEAD LOCKSMITH JOSÉ L. SEPULVEDA GONZÁLEZ
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LOCKSMITHS FERNANDO YUBERO GAMBERO ANGEL GIL MOÑINOANTONIO CORRAL CALVOJUAN JOSÉ CABRERAMIGUEL SEPULVEDA GONZÁLEZPEDRO A. HERNANDEZ MOYANOANTONIO PÉREZ CAROJUAN JAVIER YUBERO GAMBERO
PLASTERERS ILDEFONSO JARA SANTOSJUAN RAMÓN GÓMEZ RUIZLUIS AGUILARBASILIO GÓMEZ RUIZAMADOR JIMENEZ BASILIO GÓMEZ ZAMBRANOPABLO JIMENEZ GALANGERMÁN GARCÍA HERNÁNDEZJESÚS PAGADOR MARTIN
HEAD PAINTERS JESÚS LÓPEZ TORRALBAJOSÉ GARCÍA DONADOMARTIN SANCHEZ FERNANDEZ
PAINTERS RUDOLPH JAMES MERCADO LUIS GÓMEZ RODRIGUEZFRANCISCO MARTINEZ SANCHEZPEDRO CALDERÓN MUÑOZMANUEL GARCÍA GARCÍA PEDRO CARPIO ALEJANDRO SIERRA DIEZ
CONSTRUCTION DRIVERS MANUEL MONGE MARTIN JOSÉ Mª CRUZ GARCÍA
TOMÁS GÓMEZ BEY RUTH GARCÍA ÁLVAREZJUAN CARLOS ARDURA DAVID GONZÁLEZ GARCÍA
FRANCISCO SOTO GARCÍA RUBÉN GARCÍA MENÉNDEZPABLO GINES MIRAS DAVID RATÓN ESCARPAALICIA NICOLAS DIAZ STANISLAV KOYCHEV TANEV
ILIYA TODOROV KLINKKOV ANTONIO LÓPEZ PALMEROADRIÁN IUSTIN LIXANDU JESÚS ÁLVAREZ SERRATO
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COSTUME DESIGNER LALA HUETECOSTUME SUPERVISOR DELFIN PRIETO
COSTUME STANDBYS ASUN ARRETXEROCIO REDONDO
HEAD SEAMSTRESS EVA URQUIZASEAMSTRESSES YOLI URQUIZA
JAIRO MONTEROJOSÉ LUIS ARANDAROSA ALVAREZSOFÍA MEDEMUSUE PEÑACARLA RIVERA
MAKEUP DIRECTOR JOSÉ QUETGLASHAIRDRESSING DIRECTOR BLANCA SÁNCHEZ
ASSISTANT MAKEUP DIRECTOR MAR PARADELAMAKEUP ASSISTANTS ELVIRA GUIJARRO
MARTHA MARINMAKEUP ARTIST SANDRA TEJEDOR
MAKEUP DIRECTOR INTERN CARMEN PICAZO
MAKEUP/ANIMATRONICS SPECIAL EFFECTS SUPERVISORS DAVID MARTI
MONTSE RIBELEADING ARTISTS ARGEN TUITEN
ARTURO BALSEIROMECHANICAL DESIGN XAVI BASTIDA
PABLO PERONA PAU LOEWE NELLY GUIMARAS JOSÉ M. MENESES
JUAN SERRANO MERCHE ARQUE LORENZO TAMBURINI SHOHEI TERASHITA
RAQUEL GUIRRO ALEIX TORRECILLASALBERTO HORTAS JAVIER ALIAGO
DANI VIDAL
CONCEPTUAL DESIGN SERGIO SANDOVALISMAEL FERRER
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GEORGINA GIOTTICOLLABORATORS CARLES MONTOSA
AMALIA MAYORFRANCISCO MARTĺNADOLFO VILA CORTES IBERICATALLER MARAVILLA
SOUND ENGINEER MIGUEL POLOBOOM OPERATOR ALEJANDRO POLO
SOUND ASSISTANT FRAN GONZÁLEZSOUND EFFECTS DESIGNERS ROLAND THAI (M.P.S.E.)
ALEJANDRO QUEVEDO
1ST DIALOG AND SOUND ASSISTANT EDITOR SERGIO DĺAZSOUND EFFECTS EDITOR DANA BLANCO
SOUND DESIGNER MARTĺN HERNANDEZFOLEY ARTISTS CARLOS ZAMBRANO
DANA BLANCOPOST-EDITING SERVICES ZTRACKZ
STUDIO TECHNICIAN FABIAN PÉREZRE-RECORDING MIXER JAIME BASHKT
ASSISTANT SOUND EDITOR MICHELLE COUTTOLLIVE SOUND MIGUEL POLO
ADR STUDIO SPAIN 103 TODD-AO ESTUDIOS, SL
EDITOR BERNAT VILAPLANAASSISTANT EDITOR FRANCISCO J. AMARO
EVAN SCHIFF
GAFFERS DAVID LEERICARDO RODRIGUEZ “CHEROKEE
ELECTRICIANS ANTONIO LÓPEZCARLOS SACHAROBERTO DE MIGUELENRIQUE CASASOSCAR PÉREZDANIEL GUIRLES
KEY GRIP JOSÉ LUIS TORRECILLAGRIPS RAMÓN MUÑOS
ARIEL GARCÍA
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CARLOS ANDRÉSJAVIER PÉREZGORKA ESQUISABEL
DOLLY KEY GRIP RICK STRIBLINGEDMUNDO SANZ
STEADICAM DOLLY GRIP PAVEL PROISLDOLLY GRIPS FERNANDO “NANO” LÓPEZ GÓMEZ
RAMÓN MUÑOZ BRAVOCARLOS LÓPEZ ALONSOANTONIO LINARESSANTIAGO CASADOJOSÉ MANUEL CABELLO
CASTING DIRECTOR SARA BILBATUACASTING ASSISTANTS MACARENA POMBO
CRISTINA PERALES
ACCENT COACHES REBECA GARCÍAJOSÉ LUIS SAIZ
MILITARY ADVISER FERNANDO MARTĺNEZ DE BAÑOSEXTRAS CASTING PENELOPE
SPECIAL EFFECTS SUPERVISOR REYES ABADES
SPECIAL EFFECTS CHIEF ANGEL ALONSOSPECIAL EFFECTS TECHNICIANS
CESAR ABADES OSCAR ABADESFERNANDO BENITO JOAQUÍN VERGARA
DANIEL REBOU MIGUEL BARRAGANJUAN ALEDO GARCÍA TÓMAS URBAN RUIZ
JOSĖ MANUEL RODRIGO ORTIZ
STUNT COORDINATOR JORDI CASARESSTUNT PERFORMERS
ANGEL L. GÓMEZ FERNANDEZ MICHAEL ELVIS LINES JULIA BONILLA SABINA EMILIO RUBIO
IVAN BAENA JUSTO USIN GUILLERMO MORENO FERNANDO MILLAN
ALEJANDRO LÓPEZ ESTACI DIEGO HERBERG CANELA IVAN BAENA DELGADO ENRIQUE SALVADOR JOSÉ MANUEL CERDÁN ANTONIO ARNALTE LÓPEZ
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JUAN FRANCISCO GARCÍA ENRIQUE LÓPEZ JUAN MONTOYA CESAR SOLAR
ALVARO HERNANDEZ GUIOMAR ALONSOEDUARDO MORATILLA MARCOS LORENTE TALENS
ANGEL L. GÓMEZ DE LA TORRE JUAN J RODRÍGUEZDAVID JIMÉNEZ CAMBÓN IVAN LÓPEZ NIETO
JORGE LÓPEZ NIETO JUAN JOSÉ RODRÍGUEZJUAN CARLOS LÓPEZ NIETO
"MAKING OF" SPAIN DVD MATERIALS, EXTRAS PRODUCER AND
EDITOR MANUEL ROMOCAMERA OPERATOR HELENA SERRANO
SOUND GUILLERMO GONZÁLEZ
"MAKING OF" UNITED STATES
"MAKING OF" PRODUCER AND EDITOR MIGUEL TORRESBLANCO
CAMERA OPERATOR AND EDITING ASSISTANT MARTIN GÓMEZEDITING ASSISTANT ARIEL RONCOLI
POST-PRODUCTION ESTUDIOS PICASSO POST-PRODUCTOIN
SUPERVISOR JAVIER UGARTEEPC POST-PRODUCTION CONSULTANT JOE FINEMAN EPC POST-PRODUCTION SUPERVISOR MICHAEL TOJI
ESPERANTO FILMOJ POST-PRODUCTION SUPERVISOR MANDY GOLDBERG
ORIGINAL SCORE JAVIER NAVARRETE
PERFORMED BY CITY OF PRAGUE PHILHARMONIC ORCHESTRACONDUCTOR MARIO KLEMENS
PIANO JAROSLAVA ELIAÁSOVÁ FIRST VIOLIN BOHUMIL KOTMEL
VOICE LUARECORDING AND MIXING MARC BLANES
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RECORDING STUDIO HUDEBNÍ STUDIO BARRANDOV (PRAGUE)MIXING STUDIO SOUNDTRACK (BARCELONA)
RECORDING ASSISTANT MICHAL HRADISKÝMUSICAL PRODUCER JAVIER UGARTE
SOY UN POBRE PRESIDIARIO ("I'M A POOR CONVICT")
WRITTEN BY MONTORIO/TORRES/SÁENZ/DE LEÓN/CAMPS PERFORMED BY ANGELILLO
LICENSED BY SOUTHERN MUSIC ESPAÑOLA S.L.
EN LOS JARDINES DE GRANADA ("IN THE GARDENS OF GRANADA")
WRITTEN BY ION VASILESCUPERFORMED BY RAFAEL MEDINA
LICENSED BY PEERMUSIC ESPAÑOLA, S.A.U.
EFECTOS VISUALES POR CAFEFX, INC EVERETT BURRELLVISUAL EFFECTS SUPERVISOR
VISUAL EFFECTS PRODUCER EDWARD IRASTORZA
VISUAL EFFECTS CO-SUPERVISOR VICKI GALLOWAY WEIMEREXECUTIVE PRODUCER JEFF BARNES
EXECUTIVE PRODUCERS DAVID EBNERO.D. WELCHAKIRA ORIKASA
CG SUPERVISOR CORY REDMOND LEAD CG ARTISTS ALEX FRIDERICI
PHIL GILES
LIGHTING DIRECTORS/TECHNICIANS PATRICE SAENZ LEIGH VAN DER BYL DEBI LYONS KIRK CADRETTE JOE HOBACK
MODELS ROBERT STROMBERGMATTE PAINTER DARIUSH DERAKHSHANI
EFFECTS ANIMATORS SZYMON MASIAKDOMENIC DIGIORGIO
TECHNICAL ANIMATION SUPERVISOR RON FRIEDMANANIMATION SUPERVISOR GREG JONKAJTYS
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LEAD ANIMATOR TODD WIDUPCG ANIMATORS KRIS COSTA
JASON THIELENSOO YOUN HANNIEL LAM SING
3D TRACKING SCOTT KREHBIELCHARACTER RIGGING TRACY IRWIN
TOM WILLIAMSONCOMPOSITION SUPERVISOR MIKE BOZULICH
LEAD COMPOSITOR RICHARD REEDCOMPOSITORS MICHAEL KENNEN
ADAM STERN AARON KUPFERMAN CHRIS LEDOUX AARON SINGERRUBEN RODAS
ROTOSCOPE ARTISTS MICHAEL KAELINMELISSA WIDUPSTEVE HUTCHINSCHRIS PINTORYAN BOZAJIANJEN CANTWELLTINA WALLACEKALE WHORTON
VFX EDITORS FERNANDA PLANASET COORDINATOR WENDY HULBERT
ASSISTANT PRODUCTION COORDINATOR BRIAN OPENSHAWLEAD RENDERER BERNARDO RODRIGUEZ
ASSISTANT RENDERERS LARRY LANEROB TESDAHL
SOFTWARE DEVELOPMENT SUPERVISOR/LEAD PROGRAMMER PAUL HUDSON
SOFTWARE DEVELOPER JACK WELLSSUPPORT LARRY THOMAS
DANIEL TORRESALBERT SOTOLAP LUSHARRON SEVER
ACCOUNTANT CODY BARNESINSECTS BRITTNEY BUSH
FAIRY/BALLERINA ELIZABETH IRASTORZASCRIPT TRANSITION IN ENGLISH KATHI GALLOWAY
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OFFICE STAFF VANGE INGANRHONDA THOMPSONSUE REYES
STICK INSECTS CHEECH CHONGMAY THEY REST IN PEACE
DI DELUXE (Efilm) TORONTO CHRIS WALLACESENIOR COMPOSITOR NICK IANNELLI
DIGITAL PRODUCER NICK PAULOZZADI/VFX SCANNING/RECORDING TREVOR LEWIS
DAVE MUCATDIGITAL EDITING AHMAD ISMAIL
CHRIS MACKENZIEDIGITAL OPTICS MOTASSEM YOUNES
CHRISTINE BARCLAYDUST BUSTERS MAG SARNOWSKA
CHRIS ALEXANDERBERNADETTE COUTURE
LABORATORY IMAGE LABORATORIES BARCELONA
PHOTO FOR DIGITAL TIMING SAIOA NADALALVARO NAVARRO
IFILM SCANNER COORDINATION LAURA MAYNADÉIFILM SCANNER LAURA SÁNCHEZ
CATERING BY RAFAEL CATERING
ESTUDIOS PICASSO MARKETING MANAGER PATRICIA ECHEVARRĺAPRESS ATTACHE TRINI SOLANOMEDIA LIAISONS DAVID SÁNCHEZ
PITI ALONSO
FOR ESPERANTO FILMOJ PRODUCTION ASSISTANT CARLOS MATHEUSPRODUCTION ASSISTANT TANIA ZARAK
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PRODUCTION ASSISTANT GABRIELA RODRIGUEZ
LEGAL AFFAIRS
LEGAL COUNSEL TO ESTUDIOS PICASSO JACOBO SOUVIRON
LEGAL COUNSEL TO ESPERANTO, ALFONSO CUARÓN AND FRIDA TORRESBLANCO HENRY HOLMES
LEGAL COUNSEL TO TEQUILA GANG, GUILLERMO DEL TORO AND BERTHA NAVARRO GEORGE HAYUM
LEGAL COUNSEL TO OMM JOSÉ LUIS SANZ
SPECIAL THANKS TOHIMANAI, THANKS KEVIN!!!
MARC WEISS
CYRIL DRABINSKY
MUSEO POSTAL Y TELEGRÁFICO, SOCIEDAD ANÓNIMA ROSETA ALVAREZ
PURA LÓPEZ MARIA JOSÉ NAVARRO
HOTEL AC AVENIDA DE AMÉRICA TELSON
ASESORÍA LABORAL LEGISCINE ESPERANZA MANOLO
MIGUEL ANGEL SAN ANTONIO USER 73
JESÚS DE LA VEGA EPK
EPC MATERIAL ELÉCTRICO
CERVEZAS MAHOU KODAK
CASA ATREZZO
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JULIÁN MATEOS MENSAVISIÓN VAZQUEZ HERMANOS
TRANSPORTESGMA OFFICE, S.L MEGINO
CARLOS MELLADO ÁNGEL MEGINO
SERVICAR RAFAEL HOSTELERÍA RAFAEL GARCÍA VELASCO
SEGUROS AON GIL Y CARVAJAL PROCOEX
PEDRO MUÑOZ JACINTO GARCÍA
WALKIE TALKIES EDUARDO CARPINTEROTECNITRAN
AGUA
MONTEPINOS PEPE BARRIOS HERTZ
LASER RENT A CARALQUILER COCHES
RIESGOS LABORALESTRANSPORTE ESPECIAL LABORISPC
TRANSPAULAR S.L. JAIME CASAR/ GEMA
PROVEEDORES SEGOVIA IDM MÓDULOS OFICINAS
GRÚAS BERMEJO VERÓNICA FERNÁNDEZGRUPO ELECTRÓGENO
MIGUEL / JULIÁN CONSTRUCCIONES BENAVENTE S.L. CONTENEDORES
HRMNOS SEBASTIÁN S.L. RAFAEL Y ANTONIORETRO-TRACTOR-REMOLQUE
MANOLO/ FERNANDO PANAEUROPEA DE SEGURIDAD INTEGRAL S.L. SEGURIDAD
PEDRO ABAD DORREGO DELEGADO ZONA: JOSÉ ARAGONESES PARRATRACTOR DESBROZADORA GERENTE: JUAN CARLOS BERMÚDEZ
RIMETEC CONSEJO REGULADOR DEL CAVA
INSTALACIONES ELÉCTRICAS NOELIA FCO. JAVIER PALOMERO
NICOLÁS (TNTE. ALCALDE) INSTALACIÓN PASTOR ELÉCTRICO
FERRETERIA EL ESPINAR FERRETERIA SAN RAFAEL
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FERRETERÍA FERRETERÍAJUAN ANTONIO
JOTACHE PROLAB, S.L.AREOFEU, S.A. ROPA AGUAEXTINTORES
EDGAR VELARDO FONTANERO AYTO. FONTANERO
ANTONIO TORRES GARCÍA AURELIOMÁQUINA MARTILLO
TOÑIN (CONTACTO) AYUNTAMIENTO DE EL ESPINAR (SEGOVIA), ESPAÑAMIGUEL (DUEÑO) ESTATAL CORREOS Y TELÉGRAFOS
SEMOVIENTES WOLFORD
RICHARD ARDURA (VACA) LITOGRAFÍA-ARTE
WC PORTATIL BAÑOS QUÍMICOS IÑIGO NAVARRO
IVÁN CORNEJO
ALCANTARILLADO Y ABASTECIMIENTOS S.L. VESTUARIO
CUBA DE AGUA HUMBERTO CORNEJOJOSÉ HERRANZ RAMÍREZ
CHEROKEE LUZGUARDIAS FORESTALES
MEDIO AMBIENTE TAPICEROS ARDURA MATEOS
GUARDIAS FORESTALES AYTO. EL ESPINAR VISTA SOUTH AMÉRICA (MIAMI) GEORGE WEINER
VIAJES ÁBACOLA SIERRA TRAVEL STORE
GAS-OIL GRUPOS GRÚAS COCHES Y TALLER MÓVIL DHL EXPRESS
PACO PILAR ORTEGA
DECORACIÓN DICAS BRIAN HOWARDMUEBLES NEGEL
SERGIO DURÁN LÁZARO SERVICIOS DE PRODUCCIONAGUA Y RIEGO (CUBA) HONORIO CRUZ
GREGORIO MARTINEZ GARRIDO RECONOCIMIENTO MÉDICO
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SANIGESTFÁTIMA
PAPELERÍA
SUMOSASUSANA
ÁNGEL MARTÍN ( DIR. COMERCIAL)
PEPE ALONSO (JEFE LABORATORIO)
USA
CREATIVE STYLE INC.
ITS TV MEDIA
CAFEFX, INC.
E FILMS TORONTO
CAMERAS ACE, INC
FILM KODAK
CRANES AND TECHNOCRANE CAMERAS EPC
TECHNOCRANES ALASKA
This movie was filmed in the hills of Aguas Vertientes and La Garganta, a privileged environment, soon to be established as a Natural Park, belonging to the Town Council of El Espinar (Segovia), Spain
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© 2006 ESTUDIOS PICASSO, TEQUILA GANG y ESPERANTO FILMOJ
OBRA AUDIOVISUAL REGISTRADA EN EGEDA
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PAN’S LABYRINTH
ABOUT THE PRODUCTION
About the Story
Guillermo del Toro is part of a dynamic generation of Mexican filmmakers that
includes his friends and colleagues Alfonso Cuarón (Y TU MAMÁ TAMBIÉN) and
Alejandro González Iñárritu (BABEL). Often supporting one another on projects, these
filmmakers have revitalized Mexican cinema, making it a locus of innovation,
excitement and daring. Del Toro leapt to international prominence in with his 1993
feature debut, CRONOS, an allegorical vampire tale that garnered the Mercedes-Benz
critics’ prize at the Cannes Film Festival as well as five Ariels, the Mexican equivalent
of the Academy Awards®. In the succeeding years, del Toro has shuttled between
independent projects and mainstream Hollywood filmmaking, bringing to each his
own distinctive Gothic sensibility. Like the filmmakers he cites as influences,
including David Cronenberg, George Romero, James Whale and Mario Bava, del Toro
has mined horror and fantasy for entertainment and for insight into the human
condition, our primal fears and our own capacity to inflict terror. With each film, he
has proven himself an ever more sophisticated cinematic storyteller, orchestrating
atmosphere and tension while telescoping layers of meaning and information in
singularly vibrant images.
PAN’S LABYRINTH is del Toro’s most personal work to date, fusing his deep
understanding of childhood with his extravagant imagination and his abiding interest
in the Spanish Civil War and the dangers of ideology. Tracing the fate of an innocent
little girl in a landscape of man-made evil, del Toro PAN’S LABYRINTH draws us in to
its complex universe from its very first frame, sweeping us along for a story that
dazzles, frightens and moves. It is filmmaking at its most visionary and disciplined,
and with it del Toro moves to the front ranks of world cinema.
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PAN’S LABYRINTH is del Toro’s second film set against the historical backdrop
of the Spanish Civil War (1936-1939). The war began when a group of right-wing
military generals attempted to topple the newly elected leftist government, which
among other programs sought to implement meaningful land reform for the country’s
peasant farmers. The rebel Nationalists commanded by Francisco Franco were
supported by Catholic Church hierarchy and Spain’s landowning elite, and received
material aid and armed support from the governments of Hitler and Mussolini. Many
ordinary Spaniards, along with communists and anarchists, joined the government’s
Republican Army; the Republicans also received manpower and support from the
progressive International Brigades, the Soviet Union and Mexico. Estimates of the
War’s casualties vary from 250,000 to 1 million.
Del Toro’s interest in the War and the Franco regime dates back to his
childhood in Mexico, where many Spanish exiles sought refuge. “Mexico was a very
brave country at the time of the Civil War,” del Toro notes. “We opened ourselves to
any and all Republican immigrants that would come to us. These expatriates heavily
shaped Mexican culture and cinema. Some of them became key mentors of mine
growing up. They had tales of leaving Spain behind as children. These tales affected
me a lot.”
Del Toro first explored the period in his 2001 ghost story THE DEVIL’S
BACKBONE, which was set in at boy’s orphanage/school in the final days of the war.
He initially conceived PAN’S LABYRINTH as an outgrowth of that film, but set the idea
aside when he went on to direct BLADE II. BLADE II was immediately followed by del
Toro’s acclaimed adaptation of the Mike Mignola’s comic book series HELLBOY. By
the time del Toro was able to resume work on PAN’S LABYRINTH in 2003, he had a
different idea for the film: he would write it as a fairy tale.
Del Toro counts fairy tales among his earliest influences. Derived from oral
folk stories passed down since antiquity, the written fairy tales of the 17th- 19th
Centuries were filled with blood and violence as well as beauty and enchantment.
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Fantastic as they were, the stories spoke to the fears and anxieties faced by their
audience, both adults and children.
“I have been fascinated by fairy tales and the mechanics at work in them
since my early childhood,” del Toro says. “I have enjoyed reading the original
versions of ‘Grimm’s Fairy Tales’ and have always found that the form itself lends
easily to deeply disturbing images. Hans Christian Andersen and Oscar Wilde in fact
have some tales of thinly veiled S&M, full of horrific and brutal moments. I always try
to integrate some fairy tale elements in my films, going back to CRONOS and MIMIC.
Once I was done with HELLBOY I was aching to do a tale that was rooted in a visual
world that I could codify and then run amok.”
Del Toro discussed his concept for PAN’S LABYRINTH with Alfonso Cuarón, his
close friend and colleague for over 20 years. Cuarón loved the idea, as did producer
Frida Torresblanco, his partner in the production company, Esperanto Filmoj.
Esperanto thus joined forces with The Tequila Gang, the production company co-
owned by del Toro and his longtime producer Bertha Navarro, to make the film.
Torresblanco notes that the arrangement allowed for del Toro to work without
creative restrictions. “Alfonso really was so curious about what Guillermo wanted to
do. He said, ‘I just want to make this happen – I want to see this movie!’ Alfonso has
total trust in Guillermo,” she says. “I think for Alfonso, it was important to give
Guillermo a platform of total freedom. That’s something the three of them -- Alfonso,
Guillermo and Alejandro González (Iñárritu) -- really need. To express themselves, to
let their imaginations go.”
Adds del Toro, “Alfonso and I met at a time when we could only dream of film
and went at it with blind faith. We had worked together in a TV series and later,
officially, as co-producers of Sebastián Cordero’s CRÓNICAS. We are truly like
brothers. I wanted Alfonso involved as an official friend of the project that could help
me and be a true champion when my strength waned. And he was.”
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Like its fairy tale forebears, PAN’S LABYRINTH uses fantasy and the
supernatural to confront the malevolence and violence of the real world, in this case
Spain under Franco. Comments del Toro, “PAN'S LABYRINTH unfurls during the
middle of the pro-Franco period, and thus deals with fascism -- its very essence. For
me, fascism is a representation of the ultimate horror and it is, in this sense, an ideal
concept through which to tell a fairy tale aimed at adults. Because fascism is first
and foremost a form of perversion of innocence, and thus of childhood.”
He centered the story on a young girl, Ofelia, who enters the heart of
Francoist darkness when she and her pregnant mother, Carmen, go to live with her
new stepfather, Captain Vidal. Like generations of children before her, Ofelia has
learned about good and evil from fairy tales in which life and death are a separated
by a hair’s breadth. She hasn’t yet reached the age where she is ready to set aside
those stories, and beings that have enchanted Ofelia in books will come to inhabit the
labyrinth she discovers on the grounds of Vidal’s headquarters.
Del Toro structured the narrative to shuttle between Ofelia’s private world and
the historic reality of Franco’s Spain, a place of remorseless repression and wholesale
violence personified by Captain Vidal. “Vidal is sent to destroy a group of people and
he goes at it without ever even wondering who they are or why they do what they do.
Sadly, I believe there are there are people out there that believe they can kill others
‘for their own good’ and that go to bed peacefully, comforted by their beliefs,” del
Toro comments.
Ofelia’s private world has its share of unsettling residents, including child-
eating ogres and vile giant toads. The Faun, a satyr who guards the labyrinth, is an
enigma, by turns playful, complimentary, and fierce. That is essentially his nature,
del Toro points out. “Satyrs are neither good nor bad in classical mythology. They
are mischievous, ambiguous creatures that can kill a man or give birth to a field of
flowers. They are Nature: uncaring but neutral. The Faun is an ambassador, a test
monitor that will push Ofelia towards revealing her own spirit or failing to do so.”
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Painstaking research informed del Toro’s portrait of both real and unreal
worlds of PAN’S LABYRINTH. His thorough immersion in the history of the Spanish
Civil War and its aftermath ensured accuracy in every detail, from its depiction of
Republican resistance in Northern Spain to the Nationalist insignia on various
automobiles. Del Toro is well versed in mythology and the history and forms of fairy
tales, as described by authors including Maria Tatar, Jack Zipes, Vladimir Propp and
Bruno Bettelheim. He drew upon that knowledge in creating Ofelia’s adventures in
the underworld. “All the elements are fashioned rigorously after classical patterns:
the banquet where you should not eat, the three doors, the descent, the blood, etc.,”
del Toro explains.
It is an environment that conjures shivers as easily as wonder. “This fairy
world has a grimy edge to it,” del Toro affirms. “Even the fairies are meat eaters!! I
wanted all the creatures to have an air of menace. Fantasy is not an escape for
Ofelia but it is a dark refuge. There is something vaguely embryonic about all the
magic environments because I believe that fairy tales are ultimately about two
things: facing the dragon or climbing back to our world inside.”
Casting
Del Toro wrote the part of Captain Vidal specifically for actor Sergi López
(DIRTY PRETTY THINGS), who joined the project before there was an even a
completed script. Explains Torresblanco, “Guillermo knew that he wanted Sergi
López to play Vidal; he was totally in love with his work.” She and del Toro traveled to
Spain to meet with López and his agent. As she remembers, “We had a fantastic
paella and drinks in front of the sea. Sergi asked if he could read the script, and
Guillermo said, ‘There is no script. It’s just my idea.’ So he pitched the idea, and
Sergi committed. He waited for us for a year to do this movie, actually. He really
wanted to work with Guillermo.”
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The script more than fulfilled expectations when del Toro completed it the
following year. Comments Torresblanco, “Guillermo was processing and processing
in his head, and then he was solving the problems and trying to put everything
together in the most intelligent and original way. Scene by scene, there is very
meticulous thinking. So the moment that he transferred that imagination to paper,
everything made sense; there is nothing arbitrary in the movie or script. And it’s a
script that makes you cry, you just feel all the emotions there, and the rhythm is
incredible. It’s so beautifully written.”
Casting for the film was completed during the three months of pre-production
in 2005. Auditions for the central role of Ofelia led the filmmakers to 11-year-old
Ivana Baquero, who had had small roles in a few Spanish films. “Some of the parts
were so small that I was never able to spot her. I had to rely on her interview, and
she was brilliant,” says del Toro. “I have worked with many, many kids in my life and
Ivana is, bar none, the very best actress I have encountered in that range. She is
amazing, and an absolute pro.”
Baquero was intrigued by the character. “Ofelia has lived her entire life with
her mother in the city, and the fact that she is going to live in a different and strange
place scares her. She is surrounded by war and death, and lonely. She’s a very
introverted girl, but at the same time very smart and brave. The labyrinth is a door
to another world where Ofelia can escape from her stepfather and his violence. She
has always read and dreamt about fantasy, fairy tales, fairies, princesses and
princes, and now she can make her dreams come true.”
Del Toro handpicked all the adult cast members, who, in addition to López
include Maribel Verdú as Mercedes, Ariadna Gil as Carmen, and Doug Jones in the
dual roles of the Faun and the Pale Man. They were actors whose work he admired,
and with the exception of Jones, he cast them largely against type. “Sergi is brilliant
at playing nasty men, though he is very often cast in light comedies. Maribel is often
cast as a spunky sex bomb, and Ariadna as an independent, tough, modern woman.
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I think they all enjoy trying new things, new ways of playing in film,” says the
filmmaker. As for Jones, who worked first worked with del Toro on 1997’s MIMIC and
went on to HELLBOY’S Abe Sapiens, del Toro states: “For as long as I live and
breathe and there’s a monster in my movies, Doug Jones will be there. He is an
amazing performer that knows the advantages and limits of all prosthetics and make
up.”
López describes Captain Vidal as “the most evil character I’ve ever played in
my career. It is impossible to improve upon it; the character is so solid and so well
written. Vidal is deranged, a psychopath who is impossible to defend. Even though
his father’s personality marked his existence -- and is certainly one of the reasons for
his mental disorder -- that cannot be an excuse. It would seem to me very cynical to
use that to justify or explain his cruel and cowardly acts. I think it is great that the
film does not consider any justification of fascism.”
Verdú’s character, Mercedes, is the closest thing Ofelia has to a confidante.
The actress believes that Mercedes recognizes something of herself in the dreamy
little girl. “Both Mercedes and Ofelia hide secrets that nobody knows, only they.
They are accomplices and live frightened in a world from which they want to escape,”
Verdú remarks. “Mercedes is a sad, scared and introverted woman who is quiet and
observes. But along the way, she discovers that she actually is incredibly strong -- a
fighter.”
With the death of her mother, Ofelia, too, emerges as a fighter. “She feels
empty and sad but the birth of her brother gives her a last connection with her
mother,” comments Baquero. “She tries to save her brother from Vidal and all the
misery around them. She is much braver than Vidal, and she pays a heavy price.”
About the Filming
Preparations for PAN’S LABYRINTH were completed at lightning speed, in just
three months in 2005. However, del Toro had begun working on set and character
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sketches early on, adding still more after completing the screenplay. His main visual
influences were paintings and illustrations, rather than films. “I love the fairy tale
illustrations of Arthur Rackham, Edmund Dulac, and Kay Nielsen and remain
entranced by the way they made fairy tales sensual and dark. Rackham, in
particular, was key in this film. There is a perverse undercurrent in his work. His
vision was plagued by knotty, twisted things that had a perverse will to live.”
His collaboration with his longtime director of photography Guillermo Navarro
and production designer Eugenio Caballero moved swiftly. Recalls del Toro, “We
were popping out set designs in one or two days. It was very intricate work:
puppetry, traditional prosthetics, CGI, etc., but executed in a context that was totally
unexpected. Eugenio and Guillermo were completely attuned to what I wanted. We
were all incredibly driven by this.”
Having established the classical motifs of the film’s fairy tale universe, del
Toro let his imagination run wild in conjuring its various denizens, from the ghastly
Pale Man with his eyes in his hands to the singularly repulsive Giant Toad. As strange
as they are, these characters are not entirely separate from the world of Vidal and his
men. When Vidal’s dinner guests arrive during a rainstorm one night, the umbrellas
that inflate to shelter them are remarkably like the heaving black flesh of the Giant
Toad confronted by Ofelia. “I tried to very delicately trace visual and content
parallels between the real world characters and sets with the imaginary ones,” del
Toro acknowledges.
One of the most impressive expressions of del Toro’s imagination is the Faun,
a towering creature with ram’s horns, mysterious opaque eyes, cascading blond hair,
and a strangely jagged body. The costume was made mostly of latex rubber foam,
and the ram horns were made of fiberglass horns; makeup for actor Doug Jones took
five hours each day. When performing, Jones operated the lower half of the Faun’s
head, while an off-camera puppeteer controlled the movement of the creature’s
opaque eyes and eyebrows through a machine installed inside the head. That
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puppeteer was also responsible for Jones’ makeup, so the two would run through a
scene during makeup. Comments Jones, “I trusted totally that whoever was
operating the eyebrows and the eyes was working in concert with the bottom half of
the face that I was operating, and with my body posture, the tilt of the head and the
dialogue that I was speaking. If Pan had one of his explosions, the puppeteer knew
when that came. He would watch my body language and follow that with his upper-
half facial expressions.”
PAN’S LABYRINTH filmed for 11 weeks from June to October of 2005 in Madrid
and the suburbs outside Madrid. It was Spain’s driest summer in decades -- a
considerable problem for a story that unfolds in a verdant forest. Reports del Toro,
“Everything was dry and brown. We literally had to shoot only around shaded areas
where ferns grew for a few weeks. Immediately at camera left or right in most shots,
the field was dry and dead.”
Weather aside, the filming was a memorable and enjoyable experience.
Baquero reports that she loved working with del Toro and her fellow actors.
“Guillermo and I started working together a few weeks before shooting, and we
talked a lot about Ofelia. I had to know stuff about her that wasn't in the script, but
was necessary in order to build the character. Guillermo is like an open book. He
knows everything and is very smart. I tried to learn as much as I could from him,”
she says. She also enjoyed watching López transform himself into the evil Vidal.
“Sergi is such a funny and good man but Vidal is so mean and raw. It was incredible
seeing him become Vidal. Working with all these amazing actors was a great
experience.”
López relished his chance to be the true monster of PAN’S LABYRINTH. “I just
had to let myself go and be the ogre of the film and enjoy the present that Guillermo
gave me,” he reports. “For me it was like a big dream -- submerging myself in
Guillermo’s fantastic and overflowing universe.”
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Del Toro turned to DEVIL’S BACKBONE composer Javier Navarrete to create
the score for PAN’S LABYRINTH, and entrusted the sound design to Martín Hernández,
who has worked on all of Iñárritu’s films as well as CITY OF GOD. The score and
sound design combined to create an atmosphere del Toro describes as “very
expressive, very grand, fairy-tale like in some aspects. Martín Hernández and his
team prepared thousands of sound tracks for environments and creatures. Javier
Navarrete created a very emotional score. I felt that the central piece should be a
lullaby, one that would suggest some Celtic elements in the North of Spain and be full
of sadness. We tailored the score on the basis of ‘themes’ for each character and its
environment, thus giving each situation its own sound and personality.”
Cuarón accompanied del Toro to the world premiere of PAN’S LABYRINTH at
the 2006 Cannes Film Festival. “There was 22 minutes of applause. It was so
beautiful to watch that,” Cuarón recalls. “This film is a big bang of Guillermo -- if
anything, the film shows Guillermo’s true potential. It’s the pinnacle of what he’s
been trying to do in his most personal films, like THE DEVIL’S BACKBONE and also
HELLBOY, in which you have these comic book characters have highly metaphysical
conversations. Guillermo masters the genre, but the story also expresses his very
personal philosophy.”
He continues, “These films are about moral choices. And they have to do with
the universe of children, and how ideology becomes the first big trap and prison for
humanity. What is amazing is how Guillermo juggles it all. He doesn’t lose a beat of
the suspense of the fantasy world that he’s presenting. And he doesn’t lose a beat in
the political discourse that he’s delivering. And within all that, there is the humanism
of the piece.”
PAN’S LABYRINTH is an affirmation, serious and beautiful, of the centrality of
stories and the imagination in withstanding the world’s horrors. Says del Toro, “I
know for a fact that imagination and hope have kept me alive through the roughest
times in my life. Reality is brutal and it will kill you, make no mistake about it, but
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our tales, our creatures and our heroes have a chance to live longer than any of us.
Franco suffocated Spain for decades as he tried to fashion it after what he believed to
be ‘good for her.’ Yet Spain didn't die; she exploded, vibrant and alive, in the 80’s.
Spain lived the 60’s in the 80’s and they are still feeling the aftershocks of such a
wonderful explosion.”
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PAN’S LABYRINTH
ABOUT THE FILMMAKERS
GUILLERMO DEL TORO (Writer/Director/Producer)
The world premiere of his latest feature PAN’S LABYRINTH (EL LABERINTO DEL FAUNO) in competition at the 2006 Cannes International Film Festival brings Mexican filmmaker Guillermo del Toro full circle to the place where his international career was launched. At the 1993 festival, del Toro’s first feature, the Mexican-American co-production CRONOS, won the Critics’ Week FRIPRESCI award. Along with its nine Ariels (Mexican Academy Awards), the film established del Toro as one of the most admired and sought-after international writer-directors.
A devotee of the gothic horror genre, del Toro followed CRONOS with the environmental horror film MIMIC for Dimension Films, which he directed and co-wrote. Mira Sorvino, Jeremy Northam, Josh Brolin, and Charles Dutton star in the film. After completing the New Line vampire film BLADE II, starring Wesley Snipes and Kris Kristofferson, del Toro began work on HELLBOY for Revolution Studios. Based on the Dark Horse graphic novels by Mike Mignola, the film has been a critical and commercial success. Del Toro recently completed the screenplay for the sequel, HELLBOY 2: THE GOLDEN ARMY, which he will also direct.
Del Toro’s Spanish language gothic film THE DEVIL’S BACKBONE, released in the U.S. by Sony Classics, appeared on the "Best of 2001" lists of such publications as the New York Times and Newsweek. The film, which stars Eduardo Noriega, Marisa Paredes, and Federico Luppi, is a co-production between Pedro Almodovar’s El Deseo and del Toro’s Mexican production company Tequila Gang. The film screened at the Locarno, Edinburgh, Toronto, and Telluride Film Festivals.
In addition to HELLBOY 2, del Toro is writing and will direct an adaptation of Roald Dahl’s dark children’s classic THE WITCHES, which Alfonso Cuarón’s Esperanto Filmoj will produce for Warner Brothers. His other projects include THE COFFIN, based on the cult comic book at James Cameron’s Lightstorm Entertainment; KILLING AT CARNIVAL ROW, for producer Arnold Kopelson and New Line Cinema; AT THE MOUNTAINS OF MADNESS, based on the H.P. Lovecraft book, which he will direct and co-produce with Don Murphy’s Angry Films; and THE LEFT HAND OF DARKNESS with Francis Ford Coppola’s American Zoetrope.
Del Toro is also a founding partner in the Mexico City-based production company Tequila Gang, which recently produced the Spanish language festival hit CRONICAS. He has served as a mentor for many young filmmakers and has been a force behind both the Guadalajara Film Festival and the Sundance Institute’s filmmaker lab held annually in Guadalajara, Mexico. He is currently producing Spanish director Juan Antonio Bayona’s feature film THE ORPHANAGE and serves as executive producer on Chilean director Jorge Olguin‘s feature THE CALL OF THE SEA.
Born in 1964 in Guadalajara, Mexico, del Toro attended the University of Guadalajara. He trained with Oscar®-winning makeup and special effects artist Dick Smith and later established his own special effects and makeup company, Necropia, S.A., in Guadalajara. Early in his career, he produced and directed extensively for television in Mexico. He created and directed numerous episodes of the Mexican television
37
series HORA MARCADA for Televisa. In 1985, at the age of twenty-one, he produced the feature film DONA HERLINDA AND HER SON for director Jaime Humberto Hermosillo.
Del Toro has served on many film festival juries. He was a member of the Independent Film Project’s Spirit Awards jury in 1999 and 2000. He was a judge and mentor for the 2000 NHK Awards and presented those awards at the Sundance Film Festival that year.
Del Toro is the author of a critical study of the films of Alfred Hitchcock published by the University of Guadalajara Press. His screenplay for CRONOS has been published in Mexico by Miracle Press. His HELLBOY screenplay, along with some of his conceptual artwork for the film, has recently been published by Dark Horse Publications.
BERTHA NAVARRO (Producer)
One of Mexico’s leading producers, Bertha Navarro studied all aspects of filmmaking. In the late 1970s, she wrote, directed and edited the documentaries NICARAGUA, LOS QUE HARAN LA LIBERTAD and CRÓNICAS DEL OLVIDO, after which she dedicated herself exclusively to producing. Navarro already had more than a dozen films to her credit (including Paul Leduc’s REED: MEXICO INSURGENTE and Gregory Nava’s 1983 classic EL NORTE), when she produced Guillermo del Toro’s debut feature, CRONOS, in 1992. Navarro subsequently formed the production company The Tequila Gang with del Toro and produced the writer/director’s 2001 Spanish Civil War ghost story THE DEVIL’S BACKBONE. Navarro’s other credits include Paul Leduc’s DOLLAR MAMBO (1993), John Sayles’ MEN WITH GUNS (1997), Carlos Carrera’s UN EMBRUJO (1998), Chilean filmmaker Andres Wood’s award-winning LA FIEBRE DEL LOCO, and Sebastián Cordero’s award-winning CRÓNICAS. In 2002, she produced ASESINO EN SERIO by Antonio Urrutia, having also produced his 1986 Oscar®-nominated short DE TRIPAS CORAZON starring Gael García Bernal. Most recently, Navarro produced Paul Leduc’s EL COBRADOR: IN GOD WE TRUST, a world premiere at the 2006 Venice Film Festival.
ALFONSO CUARÓN (Producer)
Born in Mexico City, Alfonso studied, but didn’t finish degrees in philosophy or film studies at the National Autonomous University of Mexico (UNAM). He made his way working as a runner, boom man, film loader, editor, camera man, and assistant director until directing his first feature SOLO CON TU PAREJA in 1991. The film, written by Carlos Cuaron, won the Mexican Academy Award for best original screenplay.
In 1995 he directed A LITTLE PRINCESS. The film earned several awards and was nominated for two Hollywood Academy® Awards. In 1998 he directed GREAT EXPECTATIONS, with the cast including Ethan Hawke, Gwyneth Paltrow, Robert De Niro and Anne Bancroft. In 2001, he directed Y TU MAMA TAMBIEN. The film, co-written with Carlos Cuaron, was awarded the Silver Lion for best original screenplay at the Venice Film Festival and the Marcello Mastroianni Award for best breakthrough performance to Diego Luna and Gael Garcia Bernal. The film earned other awards and was nominated for Best Original Screenplay at the Academy® Awards and the BAFTAs.
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In 2004 Alfonso directed HARRY POTTER AND THE PRISONER OF AZKABAN. The following year, he directed a segment of PARIS JE T’AIME that was presented at Un Certain Regard at the 59th Cannes Film Festival. In 2006 he directed CHILDREN OF MEN, which he and Tim Sexton co-wrote, based on the PD James novel.
FRIDA TORRESBLANO (Producer)
Frida Torresblanco received her B.A. in Film and Media Studies from Metropolitan University, an M.A. in Communication Studies from the Complutense University of Madrid and an M.A. in Literature and Scriptwriting from Madrid’s School of Literature. She worked as assistant director on several films, documentaries, TV series, and ads in Spain, Europe, the U.S., and Morocco, including Carlos Saura’s MARATHON, the official film of the 1992 Olympics; John Glen’s CHRISTOPHER COLUMBUS THE DISCOVERY with Marlon Brando; and Fernando Trueba's THE IDEAL WOMAN.
Torresblanco acted as production coordinator and line producer on several documentaries, including Javier Rioyo and José Luis López Linares' BUÑUEL and STORMING THE HEAVENS: THE DEATH OF LEON TROTSKI, for which she also served as Second Unit director. She then joined Spain's Globo Media, where she produced more than a dozen TV series, including the hit series COMPAÑEROS and MORE THAN FRIENDS - which she executive produced - and the documentary WENCES 100 YEARS.
Torresblanco went on to create Lolafilms' television department, Lola Television, where she executive produced the award-winning program LA GRAN ILUSION and developed several outstanding projects. She also headed Lolafilms’ Department of New Media. Torresblanco was then responsible for the production design, pre-production and sales of Lolafilms' international English-language productions: THE DANCER UPSTAIRS, directed by John Malkovich and starring Javier Bardem, RAIN, directed by Katherine Lindberg, OFF KEY, directed by Manuel Gómez Pereira and THE GIRL FROM RÍO, directed by Christopher Monger. While at Lolafilms, Torresblanco also produced Susan Seidelman's GAUDI AFTERNOON starring Marcia Gay Harden and Judy Davis.
From 2001 – 2004, Torresblanco headed production for Alfonso Cuarón and Jorge Vergara’s Anhelo Productions from their New York office. With IFC Films, she coordinated US distribution of Y TU MAMÁ TAMBIÉN as well as the film’s publicity and its Academy Awards campaign. She served as executive producer and creative on-set producer for Anhelo's 2005 films THE ASSASSINATION OF RICHARD NIXON, directed by Niels Mueller and starring Sean Penn, CRONICAS, directed by Sebastian Cordero and starring John Leguizamo, and the documentary BLACK SUN.
In 2005, Cuarón created his own company, Esperanto Filmoj. Torresblanco heads Esperanto from New York, with Cuarón serving as President. For Esperanto, she is currently responsible for developing THE HISTORY OF LOVE adapted from the novel by Nicole Krauss and Roald Dahl’s THE WITCHES, both with Warner Bros. Torresblanco is also in the process of preparing the U.S. theatrical release of Alfonso Cuarón’s debut feature, SOLO CON TU PAREJA, through IFC Films. The film is also being released on Special Edition Criterion Collection DVD.
Torresblanco, Cuarón, and filmmaker Guillermo del Toro, have partnered to create OMM Productions. Based in Spain, the company formed as an outlet to produce films in Europe. PAN’S LABYRINTH is OMM’s first project.
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ÁLVARO AUGUSTIN (Producer)
Born in Madrid on December 25th, 1966, Álvaro Augustin began his film and TV career in distribution. After working in the programming departments of several networks and running an audiovisual consultancy, he joined private broadcaster Telecinco, where he is currently Head of Feature Film Productions. Through Telecinco’s film production branch Estudios Picasso, he has participated in the production of several features, including some of the most successful films of current Spanish cinema: EL OTRO LADO DE LA CAMA, DÍAS DE FÚTBOL and EL LOBO. He is currently working on the production of ALATRISTE, directed by Augustín Díaz Yanes and starring Viggo Mortensen.
GUILLERMO NAVARRO ASC (Director of Photography)
Guillermo Navarro is a long-standing collaborator of Guillermo del Toro's, a fellow Mexican living in Los Angeles. Navarro has shot all of del Toro’s films since CRONOS, with the exception of MIMIC and BLADE 2. Navarro draws on an endlessly rich palette, in perfect accord with the worlds created by del Toro in CRONOS, THE DEVIL'S BACKBONE, HELLBOY, and now PAN'S LABYRINTH.
In addition to his collaborations with del Toro, Navarro has also worked as cinematographer on several films by another compatriot, Robert Rodriguez, including DESPERADO, FROM DUSK TILL DAWN and SPY KIDS, as well as Quentin Tarantino’s JACKIE BROWN. Other credits include Renny Harlin’s THE LONG KISS GOODNIGHT; Rob Minkoff’s STUART LITTLE; Mark Dippé’s SPAWN by, adapted from the comic-book by Todd McFarlane; and most recently Jon Favreau’s ZATHURA. Navarro, who began his career filming documentaries in South America, also shot the Emmy-nominated National Geographic special, LOST KINGDOMS OF THE MAYA. He is currently working on NIGHT AT THE MUSEUM by director Shawn Levy (THE PINK PANTHER).
EUGENIO CABALLERO (Production Designer)
Born in Mexico, Eugenio Caballero studied art history and cinema history at the University of Florence between 1989 and 1991. The following year, he returned to the country of his birth to study first set design at the National Institute of Fine Arts (FINA) then production design at the Universidad Iberoamericana in 1993. He first worked on numerous commercials and video clips, notably those by Café Tacuba, on which he collaborated with many of Mexico's finest directors and for which he won two MTV Awards. He worked as design assistant on more than a dozen films, including Baz Luhrmann's ROMEO + JULIETTE. His credits as production designer include Jorge Aguilera’s SERES HUMANOS; Antonio Urrutia’s ASESINO EN SERIO; Carlos Salces’ ZURDO; Alejandro Springall’s SANTITOS; and Sebastian Cordero’s CRÓNICAS, produced by Alfonso Cuarón, Guillermo del Toro, Bertha Navarro and Frida Torresblanco. Caballero is currently working on RESIDENT EVIL: EXTINCTION, third installment of the hugely successful franchise, to be directed by Russell Mulcahy.
DAVID MARTI (Special Effects Supervisor/DDT Efectos Especiales)
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Of Spanish descent, David Marti has worked in the domain of special effects for the past 15 years. Early ambitions to become a comic-book artist were soon abandoned: while watching the first of the STAR WARS trilogy, and above all John Huston's THE LIST OF ADRIAN MESSENGER, in which numerous disguised characters remove their make-up at the film's finale, something clicked. While working in advertising, Marti enrolled in the Dick Smith make-up correspondence course, perfect training for his future career.
At the beginning of the nineties, Marti established his own company, DDT Efectos Especiales, working mainly on commercials. In 1994 he made his first move into the world of cinema when he was approached by the brilliant director Nacho Cerda to design the corpse central to his short film AFTERMATH, a festival hit world-wide. During the same period, Marti oversaw the special effects for Oscar Aibar's ATOLLADERO. Also in 1994, he met Jaume Balagueró, a prodigy of contemporary Spanish cinema, and worked with him on two short films. Several years later they were reunited for three feature films, THE NAMELESS, DARKNESS and FRAGILE, all produced by Filmax International. For the same producers, Marti worked on Brian Yuzna's FAUST, Jack Sholder’s ARACHNID, Stuart Gordon’s DAGON, Paco Plaza’s THE WEREWOLF HUNT, and Daniel Monzon’s HEART OF THE WARRIOR. In addition to his contributions to these pinnacles of Spanish fantastic cinema, Marti has collaborated with the greats of contemporary Spanish cinema: Pedro Almodovar, Julio Medem (SEX AND LUCIA) and Alex de la Iglesia (LA COMUNIDAD). Recently, Marti worked on Andrzej Bartkowiak’s DOOM, a Universal adaptation of the hit video game, for which he created a number of monsters and zombies.
The extraordinary, elaborate and monstrously complex creatures he created for PAN'S LABYRINTH represent Marti's greatest career challenge to date, and mark his third collaboration with del Toro after THE DEVIL'S BACKBONE and HELLBOY.
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PAN’S LABYRINTH
ABOUT THE CAST
SERGI LÓPEZ (Vidal)
Born 22 December 1965 in Vilanova i la Geltru, a small village near Barcelona, as an adolescent Sergi López preferred to study acting and circus arts rather than follow a more conventional scholastic path. He put on his own plays with a troupe of friends before leaving Spain to enroll in Jacques Lecoq's prestigious Ecole Internationale de Théâtre in Paris, where the emphasis was strongly on the physical aspect of the craft. It was in Paris, in 1992, that he met director Manuel Poirier, who immediately offered him a role in LA PETITE AMIE D’ANTONIO. The film brought López the Prix Michel Simon in 1993 and marked the beginning of a long collaboration with Poirier. The two went on to make seven more features together: A LA CAMPAGNE (1994); ATTENTION FRAGILE (1995); MARION (1996); WESTERN (1997), which won the Jury Prize in Cannes and for which López was awarded the Best actor Prize at the International Catalonia Film Festival and nominated for the Best Male Newcomer César; TE QUIERO (2000); LES FEMMES… OU LES ENFANTS D’ABORD (2001) and lastly CHEMINS DE TRAVERSE (2003). López has since divided his career largely between France and Spain, often acting more than once for directors like Ventura Pons (CARESSES in 1997 and MORIR (O NO) in 2000); Luis Miguel Albaladejo (ATAQUE VERBAL in 1999 and EL CIELO ABIERTO in 2001); and Marion Vernoux (RIEN À FAIRE in 1999 and REINES D’UN JOUR in 2001). He is noted for playing ambiguous or sociopath roles, perhaps most notably that of Harry in Dominik Moll’s HARRY, HE'S HERE TO HELP, a role for which he won a César for Best Actor in 2001 and which elevated him to true celebrity status. Other notable credits include Antonio Hernandez’s LISBOA; Manuel Gomez Pereira’s ENTRE LAS PIERNAS; UNE LIAISON PORNOGRAPHIQUE (AN AFFAIR OF LOVE) opposite Nathalie Baye; Danièle Thompson’s DÉCALAGE HORAIRE; Claude Duty’s FILLES PERDUES, CHEVEUX GRAS; Hélène Angel’s RENCONTRE AVEC LE DRAGON; Stephen Frears’ DIRTY PRETTY THINGS; Samuel Benchetrit’s JANIS AND JOHN; Alain Corneau’s LES MOTS BLEUS; and Eric Barbier’s TOREROS, in which he appeared opposite Maribel Verdú, with whom he is reunited in PAN'S LABYRINTH.
López is currently filming Arnaud des Pallières’ PARC and J’AI TOUJOURS RÊVÉ D’ÊTRE UN GANGSTER, his second film with Samuel Benchetrit.
MARIBEL VERDÚ (Mercedes)
Born Maria Isabel Verdú Rollan on 2 October 1970 in Madrid, to a model mother and salesman father, Maribel Verdú underwent a strict convent education. As a child she wanted to be a teacher, then a private detective, then an actress who would play teachers or private detectives! When she was 13, her mother enrolled her in the same modeling agency as her own and Maribel was quickly engaged for magazine and advertising work. Her career as an actress began only a few months later when producer Jaime Fernandez Cid spotted her. He immediately cast her opposite Victoria Abril in the TV movie EL CRIMEN DEL CAPITAN SANCHEZ. Two years later, in 1986, came her first starring role in Fernando Trueba's EL ANO DE LAS LUCES. Verdú numbers some 50 films amongst her credits, notably: Montxo Armendariz’s 27 HORAS; Mario Camus’ LA FEMME ET LE PANTIN; Bigas Luna’s MACHO; Eric Barbier’s TOREROS; and Carlos Saura’s GOYA. But it was the role of Luisa Cortés, opposite
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Diego Luna and Gael García Bernal in Alfonso Cuarón's Y TU MAMÁ TAMBIÉN that was to bring her true international recognition. As one of the co-producers of PAN'S LABYRINTH, Alfonso Cuarón played a determining part in choosing Maribel Verdú to play Mercedes, the housekeeper in charge of Captain Vidal's domicile. It is her most recent role to date.
IVANA BAQUERO (Ofelia)
Just 11 years old, young Spanish actress Ivana Baquero already has four films to her credit, all produced by the Spanish company Filmax International - more precisely for that company's genre specialist subsidiary, Fantastic Factory. She made her debut in L’ENFER DES LOUPS (ROMASANTA) by Paco Plaza, who also directed her in THE BABY’S ROOM. Baquero has also appeared in Brian Yuzna’s ROTTWEILER, and most recently, in Jaume Balagueró's FRAGILE, alongside Calista Flockhart.
DOUG JONES (Faun/Pale Man)
The youngest of four children, Doug Jones was born 24 May, 1960 in Indianapolis, IN, USA. He was educated at Bishop Catard High School and later Ball State University in Indianapolis, leaving with a degree in telecommunications and theatre. At the same time, he was studying mime for pleasure, never suspecting that it would one day become his career. Having trod the boards in various theatre pieces, he left Indianapolis for Los Angeles in 1985 to pursue a film career. A fistful of B-movies (NIGHT ANGEL, CARNAL CRIMES, MAGIC KID, among others) was followed by a role as one of Danny DeVito's henchmen in Tim Burton's BATMAN RETURNS. Jones has been in work solidly ever since, appearing in some forty feature film and TV series appearances, and more than 90 music videos, notably for Madonna and Marilyn Manson.
For del Toro, Doug Jones has already portrayed one of the humanoid cockroaches in MIMIC, and the aquatic Abe Sapien in HELLBOY. Other cinema roles, sometimes hidden behind elaborate make-up, include: M. Night Shyamalan’s THE LADY IN THE WATER; the comedy BENCHWARMERS, with David Spade and Rob Schneider; . HOCUS POCUS, with Bette Midler and Sarah Jessica Parker; MYSTERY MEN with Ben Stiller; THE TIME MACHINE by Gore Verbinski and Simon Wells; Barry Sonnenfeld's MEN IN BLACK 2; Spike Jonze's ADAPTATION; and most recently Andrzej Bartkowiak's DOOM. On television, Jones made an indelible appearance in the “Buffy the Vampire Slayer” episode “‘Hush,” which was nominated for two Emmy Awards. Other television credits include “Criminal Minds,” “C.S.I.,” “Tales from the Crypt” and “The Guardian.”
ARIADNA GIL (Carmen)
Born 23 January, 1969, in Barcelona, Ariadna Gil has appeared in more than 40 films. The daughter of an eminent lawyer, she studied singing, classical dance and violin as a child. She began moving towards theatre and television at age 17, following her appearance on the cover of an avant-garde magazine. It was at this period, in 1986, that Bigas Luna noticed her and offered Gil her first film role in LOLA. Her appearance opposite Javier Bardem in the comedy AMO TU CAMA RICA brought her widespread recognition in 1991, a fame consolidated the following year with Fernando Trueba's romantic comedy BELLE EPOQUE, in which she appeared alongside Penelope Cruz. It was while shooting the latter that she met actor-director David Trueba, brother of Fernando, and her future husband. Numerous Spanish and
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French box-office hits have followed: Fina Torres’ MÉCANIQUES CÉLESTES (CELESTIAL CLOCKWORK); Vincente Aranda’s LIBERTARIAS; Jacques Weber’s DON JUAN; Géraldo Vera’s DEUXIÈME NATURE; Sergei Bodrov’s LE BAISER DE L’OURS; Fabien Onteniente’s JET SET; Joaquin Oristrell’s MANIFESTO; Arturo Ripstein’s LA VIERGE DE LA LUXURE; and most recently Fernando Trueba's L’ENVOÛTEMENT DE SHANGAÏ and her husband David Trueba's SOLDADOS DE SOLAMINA.
Famed for taking difficult parts, Gil will soon be seen in Augustin Diaz Yanes’ ALATRISTE by and Alberto Lecchi’s UNA ESTRELLA Y DOS CAFES.
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