![]() ![]() The story of the breath of life in a statue has parallels in the examples of Daedalus, who used quicksilver to install a voice in his statues or to make them move of Hephaestus, who created automata for his workshop of Talos, an artificial man of bronze, and (according to Hesiod) of Pandora, who was made from clay at the behest of Zeus. In the story of Dido, Pygmalion is an evil king. Perhaps he drew on the lost narrative by Philostephanus that was paraphrased by Clement of Alexandria. Ovid's mention of Paphos suggests that he was drawing on a more circumstantial account than the source for a passing mention of Pygmalion in Pseudo-Apollodorus' Bibliotheke, a Hellenic mythography of the 2nd-century AD. In some versions, Paphos was a son, and they also had a daughter, Metharme. In Ovid's narrative, they had a daughter, Paphos, from whom the city's name is derived. Pygmalion married the ivory sculpture, which changed to a woman under Aphrodite's blessing. He kissed it again, and found that the ivory had lost its hardness. When he returned home, he kissed his ivory statue, and found that its lips felt warm. There, too afraid to admit his desire, he quietly wished for a bride who would be "the living likeness of my ivory girl". In time, Aphrodite's festival day came and Pygmalion made offerings at the altar of Aphrodite. ![]() Pygmalion kisses and fondles the sculpture, brings it various gifts, and creates a sumptuous bed for it. He made a sculpture of a woman that he found so perfect he fell in love with it. He determined to remain celibate and to occupy himself with sculpting. Post-classical sources name her Galatea.Īccording to Ovid, when Pygmalion saw the Propoetides of Cyprus practicing prostitution, he began "detesting the faults beyond measure which nature has given to women". In book 10 of Ovid's Metamorphoses, Pygmalion was a Cypriot sculptor who carved a woman out of ivory. He is most familiar from Ovid's narrative poem Metamorphoses, in which Pygmalion was a sculptor who fell in love with a statue he had carved. In Greek mythology, Pygmalion ( / p ɪ ɡ ˈ m eɪ l i ən/ Ancient Greek: Πυγμαλίων Pugmalíōn, gen.: Πυγμαλίωνος) was a legendary figure of Cyprus, who was a king and a sculptor. “They want to keep it being a fucking McNugget,” he says.Pygmalion Adoring His Statue by Jean Raoux, 1717 “It is the nature of the artist to be fearless and it is the nature of the people with the money to be scared as shit.”ĭel Toro closes his speech with a perfect metaphor for what animation is in today’s cultural landscape. He makes it clear he thinks an artist’s job is to, even if it’s just one shot, find some way to improve the medium and move it forward. The director acknowledges the push-and-pull of this kind of relationship without letting the artists off the hook. People with the money, they don’t know what animation can be.” “Everyone in this room knows what animation can be. ![]() “I think this is the time where we can make animation be what it is,” he said. And we’re living with fear as opposed to hunger.” He adds, “We really don’t know when it ends.”Īcademy Award® winning filmmaker Guillermo del Toro takes you inside the stop-motion magic behind his Pinocchio! #TUDUM /B63Z1GrjuN- Guillermo del Toro’s Pinocchio September 24, 2022įrom there, del Toro moves to the topic of animation and the necessity of artists like those listening to him speak, the people who will push the medium forward even as those with the money push back on them. The way we live life is without danger or curiosity if we’re not careful. “We all are going to die.” The crowd laughs along before del Toro asks, “How’s your afternoon now?”ĭel Toro continues to talk frankly about the dichotomy of life and death, saying, “It’s really, really beautiful how you hang on to life. He goes on to say that Mexicans have a unique understanding of death that makes for a good fit with a character like Pinocchio, who has a fundamental existentialism to him that can be explored as more than just a story about a wooden boy who comes to life. The director goes on to explain how Mexican culture also influenced the way the film deals with “death and life.” He explains this with verses from a poem by Jaime Sabines called “Del Mito,” saying, “All my life I heard a voice whispering softly in my ears. #guillermodeltoro #director #film #filmtok #pinocchio #mexicanculture ♬ original sound – bridgett valenzuela One of my favorite things from the film was the score by alexandre desplat. ![]()
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