You will be redirected back to your article in seconds
Back to IndieWire

Cate Blanchett Was Ready to ‘Play a Pencil’ for Guillermo del Toro in ‘Pinocchio’

Blanchett was ultimately cast as her "spirit animal" Spazzatura, a talking monkey whose Italian name translates to "garbage."

Cate Blanchett, Guillermo del Toro

Cate Blanchett and Guillermo del Toro at the “Pinocchio” premiere


Cate Blanchett was willing to play any character in “Pinocchio” just to work with Guillermo del Toro again.

After collaborating on “Nightmare Alley,” Blanchett begged del Toro for a role in his Netflix stop-motion “Pinocchio” adaptation.

“We were shooting ‘Nightmare Alley.’ Cate Blanchett and I were having such a good time that she said, ‘You’ve got to give me a part on “Pinocchio”,'” del Toro said in a behind-the-scenes video for the feature (via The Independent). “I go, ‘The only part left is a monkey.'”

Blanchett added, “And I went, ‘I would do anything. I would play a pencil in a movie for you.'”

Turns out the “TÁR” star found a certain kind of commonality with the animated character of Spazzatura, the talking monkey whose Italian name translates to “garbage.”

“I think this is my spirit animal,” Blanchett quipped.

Del Toro recently told IndieWire that he opted to not familiarize himself with the other “Pinocchio” iterations as to not taint his vision for the animated film.

“I was told recently that there are over 60 ‘Pinocchio’ movies. I cannot testify to that,” the Oscar winner said. “We tried to studiously avoid them. You have your own ideas and don’t want to create static.”

Del Toro continued, “As Ginger Rogers used to say, ‘I did everything Fred Astaire did, but I did it backwards and in high heels.’ The same thing I can say about stop-motion. We have to execute the same level of precision, realism, but in miniature. We had to do multiple tests to simulate the carving of a piece of wood, and had to reproduce scuff marks and pay close attention to the coloring, staining, worn down areas.”

He added, “I think the beauty of stop-motion and why it has a very demanding and frail state as a production and storytelling method is that it [requires] basically the same rigor and delivery as a live-action film. You are designing and physically building a set, you are aging the walls, and fabricating every prop. It needs to fit not only the world but the ‘hand-held actors.'”

Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

This Article is related to: Film and tagged , ,

Get The Latest IndieWire Alerts And Newsletters Delivered Directly To Your Inbox