Case studies
You play multiple roles in Guillermo del
Toro’s films. You took on two roles in Pan’s
Labyrinth and have taken on three
characters in Hellboy II with three different
sets of challenges. How is this
accomplished logistically?
In the case of Hellboy II, there was a little
more bouncing back and forth, especially
because—when the audience is introduced
to The Angel of Death—the team which is
Hellboy, Liz Sherman, Abe Sapien and
Johann Kraus have come looking for help
for a particular reason and they are guided
by a little goblin to The Angel of Death.
How do you get Abe and The Angel of Death
into the same scene?
Guillermo scripted it so that Abe Sapien
Doug is fitted with his Angel of Death costume
waits outside with Johann Kraus while Liz
and Hellboy come in to The Angel of
Death’s chambers. But there’s a doorway
“It took about seven hours to become Abe Sapien
that’s open and so over the shoulder and in
the faraway shot you can see Abe in the
from head to toe with nothing but shorts on.
background. They did have a photo double
for me that could go into either make-up
There’s a lot of blue fish guy showing, which meant
and assume my character. I had to work
with him. He was a local Hungarian fellow
they had a lot of make-up to do on my entire body.”
who was also very tall and very skinny and
had some movement background in martial
arts and Capoeira, which is a beautiful art Abe Sapien is a gentle creature and, “Guillermo, as a Christian, I am not offended
form. That became a bit of, “Okay, who am basically, the heart of this film and I by this story called Hellboy with a demon
I today?” But then again, the thing is that understand he falls in love in this movie lead character. Why is that?” He said, “It
when you have a five-hour make-up process with the Elven Princess Nuala? was not meant to offend you, my friend.”
to get into these characters, there’s no As only Guillermo del Toro can do, he He went on to tell me that this story and
mistaking who you are that day. Yes, I am made this fish-man mutant sidekick into a this character reflect a piece in all of us.
The Angel of Death. I didn’t flip back into leading romantic male in Hellboy II. Yes, We all have a past of some sort. We all have
Abe on any of those days. Especially when I have more on-screen time buddy-buddy something that we’re dragging around
you feel the 40-pound wing pack on your with my brother and friend Hellboy; I have with us. And we all have a choice to make.
back. It’s like, “Ah. This is different. It’s not more brother-sister time with Liz Sherman; Do we let our past—whether it’s good or
Abe or The Chamberlain character.” The I wield a weapon and fight bad guys more, bad—affect who we are today? Do we let it
Chamberlain came in two pieces. He has a there’s a lot more action for me; and then drag us down? Do we let it inhibit our
scene that’s very short but it’s where he there’s this love interest, which is such a potential? Or do we choose to overcome it
greets the Prince of the Elven Underworld delightful subplot. The Princess is played somehow? To leave the past in the past and
who’s coming home to face off with his by the wonderful Anna Walton who is this move forward to live a life of good and
father the King. The Chamberlain was long-limbed beautiful woman from triumph? He said, “What better character
another creature where I had mechanical England who is not only a good actress; to embody this than a demon from Hell
hands that I was operating from the elbow. she’s Cate Blanchett-good! She’s going to and the past he has and the nature that he
I operated the arm movement, and the be a treat for the fan boys to fall in love has to overcome?” Again, Guillermo reaches
actual finger movement was operated by a with. She’s going to be a treat for the fan into the human condition by playing it
puppeteer and orchestrated by a wonderful girls to want to be like. through an otherworldly fantastic character.
mechanic named Mark Setrakian with
Spectral Motion, Inc. The head of The Guillermo del Toro and I have discussed the Amazingly, in his manifestation of the
Chamberlain had such a weird shape: my Catholic underpinnings prevalent in much satanic creatures in his beleaguered universe,
head looked like a big thumb with my of his manifested world. del Toro actually steers everything back to
dinky little eyes at the top of my head and Yes, I love, love, love all of the Catholic the moral principle of redemption.
my sad face. He was a delightful character imagery in Guillermo’s films. Guillermo Exactly. He can take such horrific imagery
to crawl into as well, but very very different. would say that he’s not a practicing Catholic and make it a part of the story that is
Each one felt different when wearing it. today; but, he does have a reverence for his beautiful and tear jerking. It always involves
And each day I put the character on, I knew background and I really love and respect redemption with him. All his characters
that was my day to be a different being him for the care he takes with faith issues have choices to make and have to live with
with different intentions, different heartbeat, and with that kind of imagery. When I the repercussions—both good and bad—of
different needs. talked to Guillermo about the script, I said, their decisions. n
56 By Filmmakers. For Filmmakers.
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