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Guillermo Del Toro’s Nightmare Alley Team – The Hollywood Reporter

Latest products from Guillermo del Toro Nightmare Alley may be both familiar and foreign to fans of his monstrous hit.

Known for Pacific rim, Crimson Peak and Pan’s Labyrinth, del Toro certainly leans towards his love of monster metaphors, although there are few actual monsters in his first shoot in the director’s chair since his Oscar win. Shape of Water. For producer Miles Dale, who worked with the Mexican film director to win best picture in 2018, “the film is a great development in his filmmaking style”.

“It’s not literal monsters, but I think his examination is about what in us is monstrous,” Dale said. The Hollywood Reporter at the New York carpet on Wednesday night for the upcoming Searchlight Pictures movie. “It’s really like a fable, it’s just that there are no gills and fins.”

“He watches carnivals, like with Tod Browning Bizarre. Those people are considered ‘abnormal’, but they are still a family and they understand each other to the core. However, when we get to the big city, the ‘elite people’, the famous ones, are monsters. They are cruel. They are cruel.”

The film follows Bradley Cooper’s Stanton Carlisle, his charismatic but unlucky man, who, after learning a few things from Toni Collette’s clairvoyant Zeena, as well as her psychotic husband Pete (David Strathairn) her, trying to find the same sharpness as Cate Blanchett’s. but the mysterious psychiatrist, Dr. Lilith Ritter. Their target is Richard Jenkins’ dangerous boss Ezra Grindle.

Strathairn said to CHEAP that the film “is a world of people [who] are making moves for their own survival, but they are all on the same chessboard and are interdependent. ” Their journeys are human (dark) journeys, of ‘faced with profound despair’ coupled with ‘incredible joy and seemingly success.’ It’s a story. timeless despite the film’s 1930s noir and carnival feel.

“It’s a movie about what you carry with you in the past – how that influences or motivates you. And what happens when you find yourself alone,” he explains. “How do you survive or how do you continue to be who you are? Or do I change? ”

Tim Blake Nelson, frequent del Toro collaborator and actor behind Nightmare Alley“Carny Boss,” admits that the film is an examination of monstrous human behavior, but says capitalism is also one of the monstrosities in the neo-noir psychological thriller.

“This movie is about the monster that is capitalism,” he explains. “The dark side of capitalism. That’s a real indictment of that. It was painful and it was strangely beautiful to do so. “

“If you’re a fan of the original film or the novel, this one – he takes all the themes in depth,” said star Clifton Collins Jr. of the film del Toro says. “It’s much more gruesome and it’s fascinating, fascinating to watch it develop. I haven’t seen the final product yet, but I’ve enjoyed reading, via COVID for many of the charts from start to finish, because it’s been fun reading the development process.”

But the director’s examination of the film’s “monsters” and what makes them tick isn’t just evident in the plot of a movie he’s been working on adapting for 30 years. Like all of his highly stylized works, this theme is incorporated into everything from the ensemble to the costumes and music.

For Luis Sequeira, who served as the film’s costume designer, he traveled to Europe three times to identify and purchase fabrics. And when finally building on the look, special attention was drawn to Cooper’s Stanton, whose clothing was not only “perfectly designed” to illustrate his stance, but was constantly changing to represent his features. his mantle – or his mask.

“[Bradley’s character is] a person who disregards his entire past and through that disregards everything he has ever known is essentially changing himself into another being. With the skins, there’s absolutely nothing end-to-end, so we can really see this change on the character. ”

According to composer Nathan Johnson, he avoids trying to think in terms of movie genres and instead writes those revelations into the film’s score, which Johnson describes as far more “scary” than his “sharp and precise” work on co-workers. Pull out the knife. He did this by using “unchanged repeating piano notes” even when all the other instruments – and masks – were on and off.

“We are approaching that note and moving away from it discordantly and harmoniously. But when we remove them all at the end, we’re left with that single percussion piano. “

For Blanchett’s character, whom he describes as a “deep-water shark,” Johnson worked with “open, unclear, and unsettling harmony.”

“It’s beautiful but there’s also something dark down there,” he added.

Although the film is multi-genre, the period piece is almost a love letter to a specific era in Hollywood filmmaking, which showcases contemporary elements. This not only gives it a signature spin, but also helps it become a more universal story.

As for production designer Tamara Deverell, who said del Toro wasn’t “particularly trying to be film noir” despite expectations and initial talk of the film being “black and white,” she was leaning towards art deco – both past and modern styles. They were also inspired by painters such as Vilhelm Hammershoi and Andrew Wyeth.

“We were trying to be historically accurate, but I was also looking at modern versions of art deco. There is a hotel in Hong Kong that I use as a direct reference to the office of Grendel – the rich tycoon in the film,” she said. “I’ve seen a lot of Fritz Lang’s I and a lot of older movies in the 30s and 40s that have a decorative [them]. ”

And while Deverell admits that the movie mostly works with human monster metaphors, she says they’ve managed to include a few macabre carnival elements.

“For the human monstrosity, we tried to be very real,” she said CHEAP. “For a Guillermo del Toro movie, it’s not really monster-based, but we did do some pickle-and-hog games. But really the monster is actually human, ultimately, themed. ”

In addition to conversations about dark characters and the film’s spin on the monstrosity, the New York carpet – held at Lincoln Center’s Alice Tully Hall alongside concurrent premieres in Los Angeles and Toronto – also a time to acknowledge the side work Nightmare Alley the group has put on record around the pandemic.

After wrapping up filming in March 2020, six weeks after filming and continuing into September of that year, Davis admitted the shot was complicated for the team to deal with the film’s problem because of its carnival setting, there are 250 additional people, as well as a busy celebrity cast.

More than that, how do we not impede public health and do PPE and testing and everything else going to the people who need it rather than the filmmakers. How do we create an outfit that remains creative and comfortable, where people can feel safe, even when we know they’re safe? It’s a bit of a challenge. ”

In Toronto, a dark year of the pandemic at Bell Lightbox, the year-round home of the Toronto Film Festival, has been replaced with cocktails and moviegoers swiping their chin to get a first look at Nightmare Alley as part of cross-border supply at the same time.

Audiences were flooded with Toronto crew members and the commercials were filmed Nightmare Alley locally, as the city and local areas such as Markham, Oshawa and Hamilton are filled with vintage clothing and vehicles for noir-era film.

“It is truly remarkable that this film was made,” said Toronto Film Festival Executive Director Cameron Bailey.

Etan Vlessing contributed to this story.

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