Analysing Elements of 'Pan's Labyrinth'

While my concept drawings, maquette and theories seem to naturally entwine with that of 'Pan's Labyrinth', I'd like to look further into elements of the film to embellish certain aspects of my sculpture.

Before delving in, I came across both the American and Spanish movie posters for the film. It's always interesting to see what kind of atmosphere different countries market to their customers; while America have given the environment left behind [Nazi-held Europe] to be dark and the fantasy world to be glowing with an intriguing light, Spain took the perspective of the fantasy world looking out onto Ofelia standing in the crack of light from the real world. I think it's safe that the imagery that the latter poster presents will act as more of a guidance within my own work.

Above: American and Spanish movie poster comparison.

Colour Palettes & Atmosphere:

'Pan's Labyrinth' executes a very defined, constant transition between light and dark colour palettes. As the narrative progresses, the use of light for positive environments and dark for negative, seem to transform and interplay; altering the atmosphere and foreshadowment. Using the colour palettes highlighted below, I really want the main focus on my piece to be in the use of light and colour combined. Creating cold colours when the lamp is turned off and the warm, foreboding colours when turned on. How I sculpt and fabricate the details will be elementary in conveying these contrasting atmospheres.

Above: Key still that will direct the colour scheme emitted from my sculpt.

Above: The colder colour palettes; how the sculpt may look when the light is off.

Above: Colour palettes from the scenes that include the set my sculpture would be used in.

Lighting and Imagery:

The use of light piercing through circular shapes and cracks for escapism acts as a running theme throughout the film. I'd like to combine this composition of shape and light within my own sculpture; the circular structure of piece, embedded with shards of light piercing through. As the piece is theorised to be on the table of the Pale Man's dining hall, it's important to acknowledge a similar combination of piercing shapes within a circular form placed before the fireplace.

Once again linking into this idea of a welcoming light [created by fire/the salt lamp], juxtaposed by the piercing shapes [with the sharp fencing mirrored by the sculpture's angular nature].

Above: Running themes of circular and cracks of light contrasting the environment.

Character Design - The Pale Man:

"The Pale man is a gruesome representation of the oppressive powers of Ofelia’s world – (1) Captain Vidal, (2) Spanish Fascism and (3) the Catholic Church" - based of off an Japanese old legend, 'Tenome' [seen below], this character is blinded by anger and indifference towards innocent people.

I want my sculpture to act as a fuel to this behaviour; the composition of an oppressive figure leaning over the smaller minority will be his source of evil. In between feasts, I picture him sitting across from the sculpture in silence, almost hynotised by it's presence.

Above: 'Tenome' and 'The Pale Man'.

Screenplay and Scene Inspiration:

Below I have extracted some key lines from the screen play, specifically from the scene I wish the sculpture to be placed in.

INT. HALLWAY LEADING TO DINING HALL SUNRISE

The girl walks down a corridor with a low ceiling and a multitude of arches. Each column represents a tree with fanning branches. An elaborate mosaic pattern spreads over the floor; the ceiling fresco depicts the lunar cycle.

INT. BANQUET HALL SAME

In the next room, a large, wooden table overflows with a cornucopia of cakes, meat, fish, liquor, exotic fruits...

Light and warmth pour forth from a roaring fireplace.

A PALE MAN with a gaunt, featureless face and skeletal body sits silently at the far end of the table.

She looks back at the eerie, sitting figure: immobile and seemingly lifeless.

The Pale Man jerks toward her, in spastic, disembodied steps. He crouches like an animal ready to pounce.

He introduces the eyeballs into twin stigmatas in his palms and uses his hands to look around, splaying his fingers like excited peacock feathers as he discovers

Flailing his arms, the monster turns over the table, dumping all the food.

Above: A very quick concept drawing of the Pale Man staring into the sculpture.

Above: Photoshop edit of the scene above.

Above: A more recent illustration inspired by The Pale Man's spirit.

Throughout the design and making process, I will keep all of these elements in my mind to develop my own ideas while also maintaing a focus on why I'm creating this sculpture and the kind of atmosphere I want it to induce.