Director Guillermo del Toro was approached by multiple Hollywood producers who wanted to make the film more accessible to a broader audience. “Pan’s Labyrinth” could have been a very different movie. The intricate horns were quite heavy, though, weighing 10 pounds, but were the final touch the incredible costume needed. The eyes and ears were controlled remotely, and allowed for a wide range of expression in the faun’s features. The suit divided into many sections, with the legs anchored to Jones’ hips to distribute the weight better, and a stomach section that was separate from the shoulder section to allow ease of movement.
They gave the already 6 foot 4 actor a seriously imposing height. The legs were designed to look animalistic, and were controlled by the actor’s real legs, which were edited out in post-production. They are hot, heavy and reduce vision, and though they pay off in the end, the process is a struggle for all those involved.ĭel Toro was extremely proud of his faun suit, and Doug Jones agreed that it was the right mixture of practicality and comfort. Many actors would tell you that practical effects, especially costumes, can be horrendously unwieldy things. To eat the food gives the fairies power over your mortal soul, and Ofelia was foolish enough to indulge in the presence of the Pale Man, an act she would immediately regret. The final image is that of the lavish dinner in the fairy world from early European mythology, from which you can never return if you partake. The word “Tenome” literally translates to “eyes on hands,” and these creatures are usually portrayed as deplorable and gruesome, much like the Pale Man himself. They take on a whole new identity once he places his eyes within them, like a Tenome from Japanese mythology. The wounds on his hands draw directly from this symbol, which usually represents piety and grace. There are three distinct mythological elements that can be found in the Pale Man. He is a creature wholly unique to the world of cinema, mainly because he borrows from more mythologies than one. The Pale Man is one of the most enduring images in “Pan’s Labyrinth.” He is grotesque and unsettling, and a mirror image to the monstrosity that is Ofelia’s stepfather, Vidal. The name “Pan” is also somewhat misleading, and it was only given to him to familiarize the story with Western audiences. It is never quite clear whether you should trust him or not, and he can go from respectful to enraged in moments. This creature did not fit the world del Toro was building, and was changed to appear mossy, earthen and ambiguous. The faun that del Toro saw in his dream was the classic half-man half-goat creature from Greek mythology that was beautiful to behold.
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The faun we see in the movie did not emerge fully formed like the one behind the clock, but went through several transformations. He did not find this lucid dream frightening, only intriguing, and it helped further developed his creative mind. He stated on “The Charlie Rose Show” that for years he would wake up at midnight, and see a faun step out from behind his grandfather clock. Inspiration is a nuanced phenomenon, and the imagery of the faun came to del Toro through a re-occurring dream he had as a child.
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