As the release date of The Shape of Water Opens in a new tabcreeps ever closer and closer, director and ultimate monster maven Guillermo del ToroOpens in a new tab has been tweeting out bits and pieces detailing the design of the Asset, the amphibious creature played by Doug JonesOpens in a new tab.
https://twitter.com/RealGDT/status/929379911327875072
The film’s story–that of a blossoming romance between a woman (Sally Hawkins as Elisa Esposito) and a fish-man–is one that’s been on del Toro’s mind since he was seven and first saw Creature from the Black LagoonOpens in a new tab. As he toldOpens in a new tab the Hollywood Reporter, when he saw the creature swimming under actress Julie Adams, “I loved that the creature was in love with her, and I felt an almost existential desire for them to end up together.”
Then you add detailing, pores, veins, bumps, scars- all very subtle and seldom NOT to be highlighted by paint. You are painting with volume (your light will show these details. pic.twitter.com/TMFmXc2hhgOpens in a new tab
— Guillermo del Toro (@RealGDT) November 12, 2017Opens in a new tab
The production notes and images he’s been sharing onlineOpens in a new tab emphasize that sense of tenderness and care. On Tuesday, he shared images of the tests done to finalize the Asset’s shape and color, and even all of the creature’s “pores, veins, bumps, [and] scars.”
3 Tweets on creature detailing: I have said this before, but… Painting is underpainting and overpainting. Transparencies of color, no solids, mottling, and stenciling and detailing and NOT following form but crossing over it… pic.twitter.com/ccyDeQCVGLOpens in a new tab
— Guillermo del Toro (@RealGDT) November 12, 2017Opens in a new tab
In the same manner, the best is to layer the sculpting, so you start with the basic shape and volume (lines that flow, echo each other, give a sense of weight, etc) and remove what doesn't work (we removed the shoulder fins, too busy) pic.twitter.com/uEGLG098LsOpens in a new tab
— Guillermo del Toro (@RealGDT) November 12, 2017Opens in a new tab
Despite the inspiration for the film, del Toro noted the differences between The Shape of Water’s creature and the Gill-man. “I don’t think [the Gill-man] is designed in a way that he can be a romantic lead,” he said. “It’s beautiful, but it’s not a romantic lead.” So, with the help of sculptor Mike Hill, he got to work on designing a creature with a soul–and a mouth that could be kissed.
We first tested the intricate paint job in cool colors (too 'garage kit' contouring) but the light muddled them. Mike Hill changed to a nicotine-base palette. used light to cool it and stopped contouring the sculpt. pic.twitter.com/KvTsCiydyVOpens in a new tab
— Guillermo del Toro (@RealGDT) November 14, 2017Opens in a new tab
Eye paint test (physical sculpt and paint). Pupil too wide. We changed it. pic.twitter.com/qrbkJxRCgvOpens in a new tab
— Guillermo del Toro (@RealGDT) November 14, 2017Opens in a new tab
Its soul is most evident in its eyes, which changed throughout production. On Twitter, del Toro wrote that, after changing the pupil, which was deemed to be too wide, “We also reduced the perimeter of the eye to make the creature look more intelligent, less animalistic.”
While Strickland, the military man played by Michael Shannon, has no sympathy for the creature, it’s not hard to see why Elisa falls in love with it. It’s beautiful, and born out of such care, that it’s difficult not to reciprocate that care in turn.
Then, of course, there’s the fact that it’s just an extremely handsomeOpens in a new tab creature–just wait until you see it in motion.
Featured Image: Fox Searchlight
Read more about Guillermo del Toro’s stories!
- Guillermo del Toro’s tequila collaborationOpens in a new tab with Patrón.
- The trailer for Trollhunters Part 2Opens in a new tab.
- del Toro’s character bios forOpens in a new tab Crimson Peak and Pacific Rim characters.
