Guillermo del Toro has done amazing things in his career, from the best movie with robots ever (Pacific edge) to win an Oscar for a movie featuring an amphibious monster (The shape of water). There are two so far unfulfilled movie dreams: the third hellboy is irreparable now, but there is still hope for it To the mountains of madness (On the mountains of madness), based on HP Lovecraft’s legendary novel of the same name. Today, the Mexican filmmaker shared a short, never-before-seen test shot taken by Industrial Light & Magic ten years ago, when the project was in the works at Universal Pictures. A few seconds that make up for the unsettling atmosphere of discovery and terror that must have characterized the work.
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Why publish now? Is it a sibylline signal of a possible release? It could be: last year, the Mexican director said that, speaking of his future projects with Netflix under the multi-year contract that binds him to the platform, he (re)launched the horror film between the various proposals. This could all be feasible: for certain projects, Netflix seems unafraid to invest and attracts many prestigious directors in the horror and fantasy field, such as Tim Burton and Mike Flanagan. Del Toro becomes a big name after the franchise for the animated series Pacific Rim and his Pinocchio And Cabinet of curiosities. Del Toro is now (rightfully) revered as a master of the fantastic, with an Oscar in his pocket, something few in their curriculum can boast of, so he’s no longer just a director who is “at risk” as he was at the time of the second Hellboy.
Compared to the version of the script now written fifteen years ago, Del Toro said some time ago that he may have been determined to create and produce something less like the spectacular blockbuster than, rather, “on a smaller scale, more bizarre, esoteric”. Color from space with Nicolas Cage, for example, he showed how Lovecraftian madness can be achieved on a smaller budget, creating something with a Rated-R that can still be profitable. What certainly wouldn’t change is the tone, the themes and the ending, decidedly unconciliatory. In short, at Warner Bros. and Universal he had the problem of the budget and the lack of a happy ending: with Netflix he would be able to finish everything his own way, staying as true to the original as possible without looking like a rip-off of Prometheusa fear that gripped him when it was in the pre-production stages and Ridley Scott’s film hit theaters.
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Source: Lega Nerd
