Guillermo del Toro’s Netflix adaptation of “Pinocchio” breathes new life into the overcenturyold art form of stopmotion animation. The film achieved a new level of expressiveness in its animated puppets by marrying traditional stopmotion techniques with newer technologies.

We spoke with “Pinocchio” puppet fabrication supervisor Georgina Hayns and animation supervisor Brian Leif Hansen about the labor of love behind the film.

Hayns and Leif Hansen are worldrenowned stopmotion artists who brought their expertise to the threeyear undertaking that was “Pinocchio.” Previously, Hayns supervised character fabrication for “Kubo and the Two Strings” (2016), “The Boxtrolls” (2014), “ParaNorman” (2012), and “Coraline” (2009). Leif Hansen was an animator on “Missing Link” (2019), “Fantastic Mr. Fox” (2009), and “Frankenweenie” (2012).

Both artists worked on Tim Burton’s “Corpse Bride” (2005), which was pioneering for its use of geared heads to express nuanced emotion in stopmotion characters, a technique adopted in “Pinocchio.” Meanwhile, other stopmotion films like “Coraline” laid the groundwork for the implementation of 3D printing technology in “Pinocchio.” Del Toro’s team built and expanded upon all of these tools and more to light up the livedin world of “Pinocchio.”

For more from Georgina Hayns and ShadowMachine:
https://www.shadowmachine.com/
  / shadowmachine_official  
For more from Brian Leif Hansen: https://www.brianleifhansen.com/
For more from Savannah Joy Steiner:   / savanimationz  

00:000:50: Mechanics of Spazzatura
0:502:45: Mechanical Puppets
2:454:50: Making a 3DPrinted Pinocchio
4:507:05: Customizing Each Puppet
7:058:28: Animating & Rigging Motion
8:288:57: Adding VFX
8:579:53: Costumes & Cloth
9:5310:38: Labor of Love

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How Netflix's 'Pinocchio' Created Lifelike StopMotion Animation | Movies Insider | Insider