Tim Gray Senior Vice PresidentGuillermo del Toro’s “Nightmare Alley” is physically stunning, which the director says “sustains the darkness of the movie by keeping the audience almost hypnotized by those textures.
If you make a beautiful movie that’s not telling a story or defining a character, it’s just decorative. That’s the difference between eye protein and eye candy.”Every worker behind the camera on the Searchlight film was “first-rate,” says del Toro, who also singled out several key artisans. “We basically made two films,” he adds. “The carnival is full of steam, rain, mud and reds; the second half is sterile and cold, in the snow, full of metal, glass and straight lines.”Tamara Deverell Production design “We had a long period of preproduction.
Tamara quickly identified the carnival as the hardest thing to do. You are dealing with an extremely complicated set that is going to work as exteriors and interiors.
We did an almost military operation of engineering, transforming the ground to carry water, electricity and steam, because I wanted to have steam rising the whole time.
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