We chat with Scott Martin Gershin, sound designer for Guillermo Del Toro’s pinocchiomovie, talks about its unique sounds and serving a new take on a classic tale:
Warning: SPOILERS for Guillermo Del Toro's Pinocchio to follow.Guillermo Del Toro's Pinocchio is a masterful retelling of a classic story that brings new themes, depth, and cultural relevance to familiar events and characters. By shifting the story of Pinocchio into 1930s Italy, Guillermo Del Toro's film touches on innocence in the face of war, the human costs of battle, and warring ideologies.
And when you first started seeing the visuals and hearing about the story, what did you think of Guillermo Del Toro's take on the story? Scott Martin Gershin: When I start a movie, I try not to have any preconceptions. I want to see the show and let the show talk to me. I know that sounds kind of corny, but when you start looking at the visuals, the pacing, [and] the movement, it starts telling you what the filmmakers have in mind. I wanted to stay true to that.
Podesta needed to be very surefooted, a little heavier-footed, and very dominant. What's interesting is that when you create sounds, the audience doesn't think, "Heavy foot, heavy shoe. What's the surface?" I'm very much hitting the psychological part of the characters. I didn't see the Forest Sprite formulating from all the eyes until the very, very end. There were so many cool things I could have put in, but I wanted to keep the concept of innocence, because the creation of Pinocchio is the creation of innocence. I tried to make it light and fun, with all the little eyeballs having a childishness about them. I [also] didn't want her to be scary, per se, I just wanted her to be awe-inspiring.
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