PRODUCTION NOTES

Contents

Credits – Pages 2-17

Synopsis – Pages 18-19

About the Production – Pages 20-26

About the Filmmakers – Pages 27-31

About the Cast – Pages 32-34

1

CREDITS

Filmmakers

A FILM BYGUILLERMO DEL TORO

DIRECTED BYGUILLERMO DEL TORO

PRODUCED BYBERTHA NAVARROALFONSO CUARÓN

FRIDA TORRESBLANCOALVARO AUGUSTIN

DIRECTOR OF PHOTOGRAPHYGUILLERMO NAVARRO, ASC

FILM EDITORBERNAT VILAPLANA

PRODUCTION DESIGNEREUGENIO CABALLERO

SET BUILDERSCONSTRUCCIONES ESCENICAS MOYA S.I.

MUSIC BYJAVIER NAVARRETE

SOUND DESIGNERMARTIN HERNANDEZ

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LIVE SOUNDMIGUEL POLO

DDT FX

DIGITAL EFFECTSCAFEFX, INC.

SPECIAL EFFECTSREYES ABADES

EXECUTIVE PRODUCERSBELEN ATIENZAELENA MANRIQUE

EXECUTIVE CO-PRODUCEREDMUNDO GIL

ASSOCIATE PRODUCERCAFEFX, INC.

PRODUCED IN ASSOCIATION WITHSENTENTIA ENTERTAINMENT

CASTINGSARA BILBATUA

COSTUME DESIGN BYLALA HUETE

SERGI LÓPEZ

MARIBEL VERDÚ

IVANA BAQUERO

ALEX ANGULO

DOUG JONES

EUSEBIO LAZARO

PACO VIDAL

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SPECIAL COLLABORATION BYFEDERICO LUPPI

AND IN THE ROLE OF CARMENARIADNA GIL

OFELIA IVANA BAQUEROVIDAL SERGI LÓPEZ

MERCEDES MARIBEL VERDÚPAN DOUG JONES

DOCTOR ALEX ANGULOGARCES MANOLO SOLOSERRANO CESAR VEAPEDRO ROGER CASAMAJOR

EL TARTA IVAN MASSAGUEFRANCES GONZALO URIARTEFATHER EUSEBIO LAZAROPRIEST PACO VIDALMAYOR JUANJO CUCALON

MAYOR'S WIFE LINA MIRAFIRST-AID BOSS MARIO ZORRILLA

CIVIL GUARD CAPTAIN SEBASTIAN HARODOCTOR'S WIFE MILA ESPIGA

CONCHITA PEPA PEDROCHEJACINTA MARÍA JESÚS GATOO

PAZ ANA SAEZTRIGO CHANI MARTIN

YOUNG MAN MILO TABOADAENGINEER FERNANDO ALBIZUMANAGER PEDRO G. MARZO

SERGEANT BAYONA JOSÉ LUIS TORRIJOPALE MAN DOUG JONES

YOUNG GUERRILLA IÑIGO GARCÉSYOUNG GUERRILLA 2 FERNANDO TIELVE

KING FEDERICO LUPPIOLD MAN CHICHO CAMPILLO

DIRECTOR GUILLERMO DEL TORO1ST UNIT DIRECTOR JORGE CALVO GONZÁLEZ

2ND UNIT DIRECTORS ALBERTO TERRONBORJA GRANDIO

3RD UNIT DIRECTORS KARIN MARZOCCHINIJORGE VEGAALEJANDRO GUTIERREZ GÓMEZ

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SCRIPT CARMEN SORIANOASSISTANT DIRECTOR INTERN GALDER ARRIAGA

AMAURY VERGARAGUILLERMO DEL TORO'S ASSISTANT YURI MONTERO

LINE PRODUCER VÍCTOR ALBARRÁNPRODUCTION MANAGER LEIRE AURRECOECHEA

SET COORDINATOR FERNANDA PLANAASSISTANT PRODUCTION COORDINATOR WENDY HULBERT

ESTUDIOS PICASSO BUSINESS MANAGER LUCA A. GIAMMATTEOPRODUCTION ACCOUNTANT JAIME GÓMEZ

AUDITORS ELENA GARC?A ESPINELCARLOS AYESA

1ST ASSISTANT ACCOUNTANT OLGA BLÁZQUEZASSISTANT ACCOUNTANTS MARILO CRUZ

YURI MONTEROHECTOR MONTOLIU

1ST ASSISTANT PRODUCER JAVIER MATEOS MORILLO2ND ASSISTANT PRODUCER LUIS MARIA REYESPRODUCTION SECRETARY VIVIEN QUETGLASPRODUCTION ASSISTANTS CRISTINA CAMPOS

SILVIA ALONSOFERNANDA PLANAANA IZQUIERDOMARC DE BLAS

ASSISTANT PRODUCER INTERN MARCOS RAMBAL ORUETA

FILMING ASSISTANCE INÉS MANRIQUEJUAN FERNANDEZ ISASIHECTOR UBONIGNACIO GUIJARROALVARO DIEZMARIANO GALLEGOJUAN ANTONIO PÉREZISRAEL HERRANZ ALONSO

5

LOCATION ASSISTANTS BEATRIZ PITALUIS BOTELLAMARIA TORRELLANICOLAS SOTOBARBARA ALLEGUEALBERTO TOMEIGNACIO RODRIGUEZASIER ANDUEZAMARTA BERRAONDOJOSÉ MIGUEL REALPACO CALZADOBARBARA YACOBI

ON-SET NURSE MAYTE VILCHES

PHOTOGRAPHY DIRECTOR GUILLERMO NAVARRO, ASC"A" CAMERA ASSISTANT 1 JUAN LEIVA"A" CAMERA ASSISTANT 2 JON ELIZEGUI"B" STEADICAM OPERATOR JAROMIR SEDINA

STEADICAM STAND-IN BERNARDO ROSETTI"B" CAMERA ASSISTANT 1 SERGIO DELGADO"C" CAMERA OPERATOR BRUCE SAINTCLAIRE

"C" CAMERA ASSISTANT 1 RODRIGO LÓPEZ"D" CAMERA OPERATOR DAVID DOMINGUEZ

"D" CAMERA ASSISTANT 1 PACO LASOCAMERA ASSISTANTS OLAF GUEMBE

ANTONIO BELÓNCAMERA PRODUCTION INTERN ALVARO GARCÍA

VIDEO TECHNICIANS ISABEL SECOSAIOA NADAL

STILL PHOTOGRAPHY TERESA ISASI

PRODUCTION DESIGNER EUGENIO CABALLEROSET DECORATOR PILAR REVUELTASET DESIGNER CARLOS GIM?NEZ

CONCEPTUAL DESIGNER WILLIAM STOUTASSISTANT ART DIRECTORS GABRIEL LISTE

CARLOS ZARAGOZAALICIA CASTRO

ART ASSISTANT BORIS FERNÁNDEZDRAFTSMAN CARLOS REVUELTA

SET/STORYBORD DRAFTSMAN RAÚL MONGESET DRAFTSMEN RAÚL VILLARES

JAVIER VILLARIÑOS

6

7

SET DRESSER MARÍA RODRÍGUEZONSITE SET DRESSER LAURA MUSSO

SET DRESSER ASSISTANT PHILIPPE GILBERT MAYANOBEFAIRYTALE ILLUSTRATION PABLO ECHEVERRÍA

ILLUSTRATION IN “LIBRO DE LAS ENCRUCIJADAS” ESTHER GILLIPROPSMASTER FEDERICO DEL CERRO

STAGE MANAGER IÑAKI RUBIOPROPS BUILDERS HECTOR GIL

PATRICIA CUEVASASSISTANT PROPS BUILDERS JUAN ANTONIO TORRIJOS

ANAHI DENTIRAIMUNDO RUDILLAROBERTO TORRALBAMARIO MARTIN CRESPOTANIA WAHLBECKMANUEL CHAMORROARTURO REVUELTA

SCULPTOR NICOLAS VILLARPROP BLACKSMITH LUCIANO ROMEROSET CARPENTER ANGEL CASCAJARES

SET PAINTER LUIS GÓMEZGRAPHIC DESIGNERS SERGIO ROZAS

NATALIA MONTESSET ASSISTANT ARIEL MARGOLISSTAGEHANDS PEDRO BOBEANU

RADU DANIELCORTEZ BRISCASEYDOU DIAAZIZ ELBAAMTANASE CIPRIANDAVID IRUSTAHEROIU MARIANRADU MIHAIABDEL SENNAK

MODELER EMILIO RUIZADDITIONAL FICTION CATERVA

BINDING JESÚS CÓRTEZSET VEHICLES FRANCISCO PUECHE

VICENTE MOLINSSET CATERING RESTAURANTE CASA NICANOR

PANADERÍA QUADRA PANISPASTELERÍA FILIPINAS

DRIVERS

CONSTRUCTION MANAGER RAMÓN MOYACONSTRUCTION COORDINATORS PEDRO DE LA FUENTE

JOSÉ LUIS MOYAHEAD CARPENTERS ANTONIO SEGURA FERNANDEZ

ENRIQUE ALBERTO FEITO SANTOSCARPENTERS MANUEL MARIN SEGURA

JOSÉ ANTONIO RAMOS MUÑOZJOSÉ TORRALBA CIDCARLOS BODEGA SANCHEZANTONIO MOYA PALOMAREMILIO CAÑUELO SOLACARLOS A. GÓMEZ RODRIGUEZFELIX SAMPABLO GARCÍAFREDDY GUZMANANTONIO MUÑOZ MARINANGEL RODRIGUEZ PEDROVIEJORAUL DE LA FUENTE TORRALBAJESÚS Mª ANTÓN RODRIGUEZANGEL CASCAJARES HERANZMANUEL ANGEL MARIN MOYABLAS DIAZ EXPOSITOANDRES MARTINEZ DESCALZOMANUEL ROMERO ROMEROJUAN JOSÉ BARRIUSO MONTIELMARIANO BUITRAGO PÉREZJOSÉ CAÑUELO SOLAALLOUCHE LEON MCGREGORFRANCISCO JAVIER HERNANDEZ

HEAD LOCKSMITH JOSÉ L. SEPULVEDA GONZÁLEZ

8

CHEMA RUIZJORGEOLIVERA

MIGUEL SANCHEZ JR.GUILLERMO CUERVOMIGUEL ÁNGEL LÓPEZ

BRIAN HOWARDFELIX BUENACHEMAT?AS PILAS

JUAN LUIS GRANDESANTONIO CALVO

OSCAR MORALUIS PATIÑO

JAVIER ROLDÁNJAVIER SANCHEZ

STEVENSUSANA MORALESMIGUEL SANCHEZ

FERNANDO HURTADOMIGUELÓN

JULIÁN HERNÁNDEZ

9

LOCKSMITHS FERNANDO YUBERO GAMBEROANGEL GIL MOÑINOANTONIO CORRAL CALVOJUAN JOSÉ CABRERAMIGUEL SEPULVEDA GONZÁLEZPEDRO A. HERNANDEZ MOYANOANTONIO PÉREZ CAROJUAN JAVIER YUBERO GAMBERO

PLASTERERS ILDEFONSO JARA SANTOSJUAN RAMÓN GÓMEZ RUIZLUIS AGUILARBASILIO GÓMEZ RUIZAMADOR JIMENEZBASILIO GÓMEZ ZAMBRANOPABLO JIMENEZ GALANGERMÁN GARCÍA HERNÁNDEZJESÚS PAGADOR MARTIN

HEAD PAINTERS JESÚS LÓPEZ TORRALBAJOSÉ GARCÍA DONADOMARTIN SANCHEZ FERNANDEZ

PAINTERS RUDOLPH JAMES MERCADOLUIS GÓMEZ RODRIGUEZFRANCISCO MARTINEZ SANCHEZPEDRO CALDERÓN MUÑOZMANUEL GARCÍA GARCÍAPEDRO CARPIOALEJANDRO SIERRA DIEZ

CONSTRUCTION DRIVERS MANUEL MONGE MARTINJOSÉ Mª CRUZ GARCÍA

TOMÁS GÓMEZ BEY RUTH GARCÍA ÁLVAREZJUAN CARLOS ARDURA DAVID GONZÁLEZ GARCÍA

FRANCISCO SOTO GARCÍA RUBÉN GARCÍA MENÉNDEZPABLO GINES MIRAS DAVID RATÓN ESCARPAALICIA NICOLAS DIAZ STANISLAV KOYCHEV TANEV

ILIYA TODOROV KLINKKOV ANTONIO LÓPEZ PALMEROADRIÁN IUSTIN LIXANDU JESÚS ÁLVAREZ SERRATO

COSTUME DESIGNER LALA HUETECOSTUME SUPERVISOR DELFIN PRIETOCOSTUME STANDBYS ASUN ARRETXE

ROCIO REDONDO

10

HEAD SEAMSTRESS EVA URQUIZASEAMSTRESSES YOLI URQUIZA

JAIRO MONTEROJOSÉ LUIS ARANDAROSA ALVAREZSOFÍA MEDEMUSUE PEÑACARLA RIVERA

MAKEUP DIRECTOR JOSÉ QUETGLASHAIRDRESSING DIRECTOR BLANCA SÁNCHEZ

ASSISTANT MAKEUP DIRECTOR MAR PARADELAMAKEUP ASSISTANTS ELVIRA GUIJARRO

MARTHA MARINMAKEUP ARTIST SANDRA TEJEDOR

MAKEUP DIRECTOR INTERN CARMEN PICAZO

MAKEUP/ANIMATRONICS SPECIAL EFFECTSSUPERVISORS DAVID MARTI

MONTSE RIBELEADING ARTISTS ARGEN TUITEN

ARTURO BALSEIROMECHANICAL DESIGN XAVI BASTIDA

PABLO PERONA PAU LOEWENELLY GUIMARAS JOSÉ M. MENESESJUAN SERRANO MERCHE ARQUE

LORENZO TAMBURINI SHOHEI TERASHITARAQUEL GUIRRO ALEIX TORRECILLASALBERTO HORTAS JAVIER ALIAGO

DANI VIDAL

CONCEPTUAL DESIGN SERGIO SANDOVALISMAEL FERRERGEORGINA GIOTTI

COLLABORATORS CARLES MONTOSAAMALIA MAYORFRANCISCO MART?NADOLFO VILACORTES IBERICATALLER MARAVILLA

SOUND ENGINEER MIGUEL POLOBOOM OPERATOR ALEJANDRO POLO

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SOUND ASSISTANT FRAN GONZÁLEZSOUND EFFECTS DESIGNERS ROLAND THAI (M.P.S.E.)

ALEJANDRO QUEVEDO1ST DIALOG AND SOUND ASSISTANT EDITOR SERGIO D?AZ

SOUND EFFECTS EDITOR DANA BLANCOSOUND DESIGNER MART?N HERNANDEZFOLEY ARTISTS CARLOS ZAMBRANO

DANA BLANCOPOST-EDITING SERVICES ZTRACKZ

STUDIO TECHNICIAN FABIAN PÉREZRE-RECORDING MIXER JAIME BASHKT

ASSISTANT SOUND EDITOR MICHELLE COUTTOLLIVE SOUND MIGUEL POLO

ADR STUDIO SPAIN 103 TODD-AO ESTUDIOS, SL

EDITOR BERNAT VILAPLANAASSISTANT EDITOR FRANCISCO J. AMARO

EVAN SCHIFF

GAFFERS DAVID LEERICARDO RODRIGUEZ “CHEROKEE”

ELECTRICIANS ANTONIO LÓPEZCARLOS SACHAROBERTO DE MIGUELENRIQUE CASASOSCAR PÉREZDANIEL GUIRLES

KEY GRIP JOSÉ LUIS TORRECILLAGRIPS RAMÓN MUÑOS

ARIEL GARCÍACARLOS ANDRÉSJAVIER PÉREZGORKA ESQUISABEL

DOLLY KEY GRIP RICK STRIBLINGEDMUNDO SANZ

STEADICAM DOLLY GRIP PAVEL PROISLDOLLY GRIPS FERNANDO “NANO” LÓPEZ GÓMEZ

RAMÓN MUÑOZ BRAVOCARLOS LÓPEZ ALONSOANTONIO LINARESSANTIAGO CASADOJOSÉ MANUEL CABELLO

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CASTING DIRECTOR SARA BILBATUACASTING ASSISTANTS MACARENA POMBO

CRISTINA PERALES

ACCENT COACHES REBECA GARCÍAJOSÉ LUIS SAIZ

MILITARY ADVISER FERNANDO MART?NEZ DE BAÑOSEXTRAS CASTING PENELOPE

SPECIAL EFFECTS SUPERVISOR REYES ABADESSPECIAL EFFECTS CHIEF ANGEL ALONSO

SPECIAL EFFECTS TECHNICIANSCESAR ABADES OSCAR ABADES

FERNANDO BENITO JOAQUÍN VERGARADANIEL REBOU MIGUEL BARRAGAN

JUAN ALEDO GARCÍA TÓMAS URBAN RUIZJOS? MANUEL RODRIGO ORTIZ

STUNT COORDINATOR JORDI CASARESSTUNT PERFORMERS

ANGEL L. GÓMEZ FERNANDEZ MICHAEL ELVIS LINESJULIA BONILLA SABINA EMILIO RUBIO

IVAN BAENA JUSTO USINGUILLERMO MORENO FERNANDO MILLAN

ALEJANDRO LÓPEZ ESTACI DIEGO HERBERG CANELAIVAN BAENA DELGADO ENRIQUE SALVADORJOSÉ MANUEL CERDÁN ANTONIO ARNALTE LÓPEZ

JUAN FRANCISCO GARCÍA ENRIQUE LÓPEZJUAN MONTOYA CESAR SOLAR

ALVARO HERNANDEZ GUIOMAR ALONSOEDUARDO MORATILLA MARCOS LORENTE TALENS

ANGEL L. GÓMEZ DE LA TORRE JUAN J RODRÍGUEZDAVID JIMÉNEZ CAMBÓN IVAN LÓPEZ NIETO

JORGE LÓPEZ NIETO JUAN JOSÉ RODRÍGUEZJUAN CARLOS LÓPEZ NIETO

"MAKING OF" SPAINDVD MATERIALS, EXTRAS PRODUCER AND EDITOR MANUEL ROMO

CAMERA OPERATOR HELENA SERRANOSOUND GUILLERMO GONZÁLEZ

"MAKING OF" UNITED STATES"MAKING OF" PRODUCER AND EDITOR MIGUEL TORRESBLANCO

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CAMERA OPERATOR AND EDITING ASSISTANT MARTIN GÓMEZEDITING ASSISTANT ARIEL RONCOLI

POST-PRODUCTIONESTUDIOS PICASSO POST-PRODUCTOIN SUPERVISOR JAVIER UGARTE

EPC POST-PRODUCTION CONSULTANT JOE FINEMANEPC POST-PRODUCTION SUPERVISOR MICHAEL TOJI

ESPERANTO FILMOJ POST-PRODUCTION SUPERVISOR MANDY GOLDBERG

ORIGINAL SCORE JAVIER NAVARRETEPERFORMED BY CITY OF PRAGUE PHILHARMONIC ORCHESTRACONDUCTOR MARIO KLEMENS

PIANO JAROSLAVA ELIAÁSOVÁFIRST VIOLIN BOHUMIL KOTMEL

VOICE LUARECORDING AND MIXING MARC BLANES

RECORDING STUDIO HUDEBNÍ STUDIO BARRANDOV (PRAGUE)MIXING STUDIO SOUNDTRACK (BARCELONA)

RECORDING ASSISTANT MICHAL HRADISK?MUSICAL PRODUCER JAVIER UGARTE

SOY UN POBRE PRESIDIARIO ("I'M A POOR CONVICT")WRITTEN BYMONTORIO/TORRES/SÁENZ/DE LEÓN/CAMP

PERFORMED BY ANGELILLOLICENSED BY SOUTHERN MUSIC ESPAÑOLA S.L.

EN LOS JARDINES DE GRANADA ("IN THE GARDENS OF GRANADA")WRITTEN BY ION VASILESCU

PERFORMED BY RAFAEL MEDINALICENSED BY PEERMUSIC ESPAÑOLA, S.A.U.

EFECTOS VISUALES POR CAFEFX, INC EVERETT BURRELL

VISUAL EFFECTS PRODUCER EDWARD IRASTORZA

VISUAL EFFECTS CO-SUPERVISOR VICKI GALLOWAY WEIMEREXECUTIVE PRODUCER JEFF BARNESEXECUTIVE PRODUCERS DAVID EBNER

O.D. WELCHAKIRA ORIKASA

CG SUPERVISOR CORY REDMONDLEAD CG ARTISTS ALEX FRIDERICI

PHIL GILES

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LIGHTING DIRECTORS/TECHNICIANS PATRICE SAENZLEIGH VAN DER BYLDEBI LYONSKIRK CADRETTEJOE HOBACK

MODELS ROBERT STROMBERGMATTE PAINTER DARIUSH DERAKHSHANI

EFFECTS ANIMATORS SZYMON MASIAKDOMENIC DIGIORGIO

TECHNICAL ANIMATION SUPERVISOR RON FRIEDMANANIMATION SUPERVISOR GREG JONKAJTYS

LEAD ANIMATOR TODD WIDUPCG ANIMATORS KRIS COSTA

JASON THIELENSOO YOUN HANNIEL LAM SING

3D TRACKING SCOTT KREHBIELCHARACTER RIGGING TRACY IRWIN

TOM WILLIAMSONCOMPOSITION SUPERVISOR MIKE BOZULICH

LEAD COMPOSITOR RICHARD REEDCOMPOSITORS MICHAEL KENNEN

ADAM STERNAARON KUPFERMANCHRIS LEDOUXAARON SINGERRUBEN RODAS

ROTOSCOPE ARTISTS MICHAEL KAELINMELISSA WIDUPSTEVE HUTCHINSCHRIS PINTORYAN BOZAJIANJEN CANTWELLTINA WALLACEKALE WHORTON

VFX EDITORS FERNANDA PLANASET COORDINATOR WENDY HULBERT

ASSISTANT PRODUCTION COORDINATOR BRIAN OPENSHAWLEAD RENDERER BERNARDO RODRIGUEZ

ASSISTANT RENDERERS LARRY LANEROB TESDAHL

SOFTWARE DEVELOPMENT SUPERVISOR/LEAD PROGRAMMER PAUL HUDSON

SOFTWARE DEVELOPER JACK WELLS

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SUPPORT LARRY THOMASDANIEL TORRESALBERT SOTOLAP LUSHARRON SEVER

ACCOUNTANT CODY BARNESINSECTS BRITTNEY BUSH

FAIRY/BALLERINA ELIZABETH IRASTORZASCRIPT TRANSITION IN ENGLISH KATHI GALLOWAY

OFFICE STAFF VANGE INGANRHONDA THOMPSONSUE REYES

STICK INSECTS CHEECHCHONG

MAY THEY REST IN PEACE

DELUXE (Efilm) TORONTO CHRIS WALLACESENIOR COMPOSITOR NICK IANNELLIDIGITAL PRODUCER NICK PAULOZZA

DI/VFX SCANNING/RECORDING TREVOR LEWISDAVE MUCAT

DIGITAL EDITING AHMAD ISMAILCHRIS MACKENZIE

DIGITAL OPTICS MOTASSEM YOUNESCHRISTINE BARCLAY

DUST BUSTERS MAG SARNOWSKACHRIS ALEXANDERBERNADETTE COUTURE

LABORATORY IMAGE LABORATORIES BARCELONA

PHOTO FOR DIGITAL TIMING SAIOA NADALALVARO NAVARRO

IFILM SCANNER COORDINATION LAURA MAYNADÉIFILM SCANNER LAURA SÁNCHEZ

CATERING BY RAFAEL CATERING

ESTUDIOS PICASSO MARKETING MANAGER PATRICIA ECHEVARR?APRESS ATTACHE TRINI SOLANOMEDIA LIAISONS DAVID SÁNCHEZ

PITI ALONSO

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FOR ESPERANTO FILMOJPRODUCTION ASSISTANT CARLOS MATHEUSPRODUCTION ASSISTANT TANIA ZARAKPRODUCTION ASSISTANT GABRIELA RODRIGUEZ

LEGAL AFFAIRSLEGAL COUNSEL TO ESTUDIOS PICASSO JACOBO SOUVIRON

LEGAL COUNSEL TO ESPERANTO,ALFONSO CUARÓN AND FRIDA TORRESBLANCO HENRY HOLMES

LEGAL COUNSEL TO TEQUILA GANG,GUILLERMO DEL TOROAND BERTHA NAVARRO GEORGE HAYUM

LEGAL COUNSEL TO OMM JOSÉ LUIS SANZ

SPECIAL THANKS TO

HIMANAI, THANKS KEVIN!!!MARC WEISS

CYRIL DRABINSKYMUSEO POSTAL Y TELEGRÁFICO,

SOCIEDAD ANÓNIMAPURA LÓPEZ

HOTEL AC AVENIDA DE AMÉRICAASESORÍA LABORAL LEGISCINEMIGUEL ANGEL SAN ANTONIO

JESÚS DE LA VEGAEPC

CERVEZAS MAHOUROSETA ALVAREZ

MARIA JOSÉ NAVARROTELSON

ESPERANZAMANOLOUSER 73EPK

MATERIAL ELÉCTRICOCASA ATREZZOJULIÁN MATEOS

VAZQUEZ HERMANOSGMA OFFICE, S.LCARLOS MELLADO

SERVICARSEGUROS

AON GIL Y CARVAJAL

PEDRO MUÑOZWALKIE TALKIESTECNITRANAGUA

MONTEPINOSPEPE BARRIOS

ALQUILER COCHESTRANSPORTE ESPECIALTRANSPAULAR S.L.

PROVEEDORES SEGOVIAGRÚAS BERMEJO

GRUPO ELECTRÓGENOMIGUEL / JULIÁN

HRMNOS SEBASTIÁN S.L.RETRO-TRACTOR-REMOLQUE

MANOLO/ FERNANDOPEDRO ABAD DORREGOTRACTOR DESBROZADORA

RIMETECINSTALACIONES ELÉCTRICAS

NOELIANICOLÁS (TNTE. ALCALDE)

KODAKMENSAVISIÓNTRANSPORTES

MEGINOÁNGEL MEGINO

RAFAEL HOSTELERÍA

RAFAEL GARCÍA VELASCOPROCOEX

JACINTO GARCÍAEDUARDO CARPINTERO

HERTZLASER RENT A CARRIESGOS LABORALES

LABORISPCJAIME CASAR/ GEMA

IDMMÓDULOS OFICINAS

VERÓNICA FERNÁNDEZCONSTRUCCIONES BENAVENTE S.L.

CONTENEDORESRAFAEL Y ANTONIO

PANAEUROPEA DE SEGURIDADINTEGRAL S.L.SEGURIDAD

DELEGADO ZONA: JOSÉ ARAGONE-SES PARRA

GERENTE: JUAN CARLOSBERMÚDEZ

CONSEJO REGULADOR DEL CAVAFCO. JAVIER PALOMERO

INSTALACIÓN PASTOR ELÉCTRICOFERRETERIA EL ESPINAR

FERRETERÍAJUAN ANTONIO

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AREOFEU, S.A.EXTINTORES

EDGAR VELARDOANTONIO TORRES GARCÍAMÁQUINA MARTILLOTOÑIN (CONTACTO)MIGUEL (DUEÑO)SEMOVIENTES

RICHARD ARDURA (VACA)WC PORTATIL

BAÑOS QUÍMICOSIVÁN

ALCANTARILLADO YABASTECIMIENTOS S.L.

CUBA DE AGUAJOSÉ HERRANZ RAMÍREZGUARDIAS FORESTALESMEDIO AMBIENTE

GUARDIAS FORESTALESAYTO. EL ESPINAR

LA SIERRAGAS-OIL GRUPOS

GRÚAS COCHES Y TALLER MÓVILPACO

DECORACIÓN DICASMUEBLES

SERGIO DURÁN LÁZAROAGUA Y RIEGO (CUBA)FERRETERIA SAN RAFAEL

FERRETERÍAJOTACHE PROLAB, S.L.

ROPA AGUAFONTANERO AYTO.

FONTANEROAURELIO

AYUNTAMIENTO DE EL ESPINAR(SEGOVIA), ESPAÑA

ESTATAL CORREOS Y TELÉGRAFOSWOLFORD

LITOGRAFÍA-ARTEIÑIGO NAVARRO

CORNEJOVESTUARIO

HUMBERTO CORNEJO

CHEROKEE LUZTAPICEROS ARDURA

MATEOSVISTA SOUTH AMÉRICA (MIAMI)

GEORGE WEINERVIAJES ÁBACOTRAVEL STOREDHL EXPRESSPILAR ORTEGABRIAN HOWARD

NEGELSERVICIOS DE PRODUCCION

HONORIO CRUZGREGORIO MARTINEZ GARRIDO

RECONOCIMIENTO MÉDICOSANIGESTFÁTIMA

PAPELERÍASUMOSASUSANA

ÁNGEL MARTÍN ( DIR. COMERCIAL)PEPE ALONSO (JEFE LABORATORIO)

USACREATIVE STYLE INC.

ITS TV MEDIACAFEFX, INC.

E FILMS TORONTO

CAMERAS ACE, INCFILM KODAK

CRANES AND TECHNOCRANE CAMERAS EPCTECHNOCRANES ALASKA

This movie was filmed in the hills of Aguas Vertientes and La Garganta,a privileged environment, soon to be established as a Natural Park, belonging

to the Town Council of El Espinar (Segovia), Spain

© 2006 ESTUDIOS PICASSO, TEQUILA GANG y ESPERANTO FILMOJ

OBRA AUDIOVISUAL REGISTRADA EN EGEDA

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SYNOPSIS

Award-winning filmmaker Guillermo del Toro delivers a unique, richly imagined epic with PAN’SLABYRINTH, a gothic fairy tale set against the postwar repression of Franco’s Spain. Del Toro’ssixth and most ambitious film, PAN’S LABYRINTH combines the historic and moral themes of hisacclaimed Spanish Civil War ghost story THE DEVIL’S BACKBONE with the protean visualcreativity and gripping dynamics of such previous films as HELLBOY and BLADE II. Harnessingthe formal characteristics of classic folklore to a 20th Century landscape, del Toro delivers atimeless tale of good and evil, bravery and sacrifice, love and loss.

PAN’S LABYRINTH unfolds through the eyes of Ofelia, a dreamy little girl who is uprooted to arural military outpost commanded by her new stepfather. Powerless and lonely in a place ofunfathomable cruelty, Ofelia lives out her own dark fable as she confronts monsters bothotherworldly and human. As Ofelia, the gifted young Spanish actress Ivana Baquero holds thescreen with a remarkable combination of innocence and maturity, vulnerability and strength.Baquero is joined by a superb cast that includes international stars Sergí Lopez (DIRTY PRETTYTHINGS), Maribel Verdú (Y TU MAMÁ TAMBIÉN) and Ariadna Gil (BELLE ÉPOQUE), as well asfrequent del Toro collaborator Doug Jones (HELLBOY).

A lone automobile travels a narrow road in the Spanish countryside in 1944. In the back seat, alittle girl named Ofelia (Ivana Baquero) and her mother Carmen (Ariadna Gil) are on their wayto their new home. A bright and dreamy little girl, Ofelia keeps her precious books of fairytales close at hand, despite Carmen’s gentle admonition that it may be time for her to putaway these childhood favorites. It is unlikely that such pastimes will meet the approval ofOfelia’s new stepfather, Captain Vidal (Sergí Lopez). And Carmen, who is pregnant with thecaptain’s child, is anxious for her daughter to get along with the man to whom she hasentrusted their future.

But for Ofelia, fables of good and evil, magic and danger are more than simple entertainment.They are her window onto the world, awakening her to life’s everyday possibilities andmysteries. When a dragonfly captures Ofelia’s attention during a roadside stop, it is not agangly insect that she follows into the woods but a glistening emerald ambassador, welcomingher to its domain.

There is little sense of welcome, however, when Ofelia and her mother finally arrive at theirdestination, an abandoned mill in rural Spain that Vidal has converted into a militaryheadquarters. Though Captain Vidal is there to greet them, his annoyance at their late arrivalis palpable. Indeed, there is nothing in the officer’s cold, exacting demeanor to suggest that hewishes to be a parent to Ofelia, whose own father died several years ago. What Vidal wants isthe son that Carmen is carrying, not a family.

On the grounds of the mill, armed soldiers are everywhere. Charged with rooting out resistancefighters in the nearby mountains, Vidal and his troops zealously pursue any and all signs of theiropponents. Thus far, the rebels have managed elude capture, though fascists have solidifiedtheir power in the region. Those local people who clean and cook for the soldiers do their workquietly, speaking only when they are spoken to. Carmen, her condition already precarious,grows even sicker and is soon confined to her bed.

In this tense and fearful environment, Ofelia finds a sympathetic presence in the housekeeperMercedes (Maribel Verdú), who shows her a rambling, neglected old garden near the mill. Withits winding paths, it is a lovely place to wander, though one can easily become lost there afternightfall.

That garden labyrinth will become Ofelia’s haven, a dark refuge from loneliness and sorrow. Itis a place of fantastical creatures and powerful talismans, presided over by a teasing,inscrutable Faun (Doug Jones). Here, Ofelia will come to terms with the world as she nowknows it – and with the monsters that live not only in her imagination, but in her daily life.

Picturehouse presents PAN’S LABYRINTH. Written, produced and directed by Guillermo del Toro.Produced by Bertha Navarro, Alfonso Cuarón, Frida Torresblanco, and Álvaro Augustin. Directorof photography Guillermo Navarro, ASC. Edited by Bernat Vilaplana. Production designerEugenio Caballero. Set construction by Construcciones Escenicas Moya S.I. Music by JavierNavarrete. Sound designer Martín Hernandez, sound by Miguel Polo. Special effects make-upand animatronics by DDT FX, digital effects by CafeFX, and physical effects by Reyes Abades.Executive producers Belen Atienza and Elena Manrique, co-executive producer Edmundo Gil,associate Producer CafeFX. Produced in association with Sententia Entertainment. Casting bySara Bilbatua. Wardrobe design by Lala Huete. Starring Sergí Lopez, Maribel Verdú, IvanaBaquero, Alex Angulo, Doug Jones, Eusebio Lazaro, and Paco Vidal. With the specialcollaboration of Federico Luppi and, in the role of Carmen, Ariadna Gil.

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ABOUT THE PRODUCTION

About the Story: Guillermo del Toro is part of a dynamic generation of Mexican filmmakersthat includes his friends and colleagues Alfonso Cuarón (Y TU MAMÁ TAMBIÉN) and AlejandroGonzález Iñárritu (BABEL). Often supporting one another on projects, these filmmakers haverevitalized Mexican cinema, making it a locus of innovation, excitement and daring. Del Toroleapt to international prominence in with his 1993 feature debut, CRONOS, an allegoricalvampire tale that garnered the Mercedes-Benz critics’ prize at the Cannes Film Festival as wellas five Ariels, the Mexican equivalent of the Academy Awards®. In the succeeding years,del Toro has shuttled between independent projects and mainstream Hollywood filmmaking,bringing to each his own distinctive Gothic sensibility. Like the filmmakers he cites asinfluences, including David Cronenberg, George Romero, James Whale and Mario Bava, del Torohas mined horror and fantasy for entertainment and for insight into the human condition, ourprimal fears and our own capacity to inflict terror. With each film, he has proven himself anever more sophisticated cinematic storyteller, orchestrating atmosphere and tension whiletelescoping layers of meaning and information in singularly vibrant images.

PAN’S LABYRINTH is del Toro’s most personal work to date, fusing his deep understanding ofchildhood with his extravagant imagination and his abiding interest in the Spanish Civil War andthe dangers of ideology. Tracing the fate of an innocent little girl in a landscape of man-madeevil, del Toro PAN’S LABYRINTH draws us in to its complex universe from its very first frame,sweeping us along for a story that dazzles, frightens and moves. It is filmmaking at its mostvisionary and disciplined, and with it del Toro moves to the front ranks of world cinema.

PAN’S LABYRINTH is del Toro’s second film set against the historical backdrop of the SpanishCivil War (1936-1939). The war began when a group of right-wing military generals attemptedto topple the newly elected leftist government, which among other programs sought toimplement meaningful land reform for the country’s peasant farmers. The rebel Nationalistscommanded by Francisco Franco were supported by Catholic Church hierarchy and Spain’slandowning elite, and received material aid and armed support from the governments of Hitlerand Mussolini. Many ordinary Spaniards, along with communists and anarchists, joined thegovernment’s Republican Army; the Republicans also received manpower and support from theprogressive International Brigades, the Soviet Union and Mexico. Estimates of the War’scasualties vary from 250,000 to 1 million.

Del Toro’s interest in the War and the Franco regime dates back to his childhood in Mexico,where many Spanish exiles sought refuge. “Mexico was a very brave country at the time of theCivil War,” del Toro notes. “We opened ourselves to any and all Republican immigrants thatwould come to us. These expatriates heavily shaped Mexican culture and cinema. Some of thembecame key mentors of mine growing up. They had tales of leaving Spain behind as children.These tales affected me a lot.”

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Del Toro first explored the period in his 2001 ghost story THE DEVIL’S BACKBONE, which was setin at boy’s orphanage/school in the final days of the war. He initially conceived PAN’SLABYRINTH as an outgrowth of that film, but set the idea aside when he went on to directBLADE II. BLADE II was immediately followed by del Toro’s acclaimed adaptation of the MikeMignola’s comic book series HELLBOY. By the time del Toro was able to resume work on PAN’SLABYRINTH in 2003, he had a different idea for the film: he would write it as a fairy tale.

Del Toro counts fairy tales among his earliest influences. Derived from oral folk stories passeddown since antiquity, the written fairy tales of the 17th- 19th Centuries were filled with bloodand violence as well as beauty and enchantment. Fantastic as they were, the stories spoke tothe fears and anxieties faced by their audience, both adults and children.

“I have been fascinated by fairy tales and the mechanics at work in them since my earlychildhood,” del Toro says. “I have enjoyed reading the original versions of ‘Grimm’s Fairy Tales’and have always found that the form itself lends easily to deeply disturbing images. HansChristian Andersen and Oscar Wilde in fact have some tales of thinly veiled S&M, full of horrificand brutal moments. I always try to integrate some fairy tale elements in my films, going backto CRONOS and MIMIC. Once I was done with HELLBOY I was aching to do a tale that was rootedin a visual world that I could codify and then run amok.”

Del Toro discussed his concept for PAN’S LABYRINTH with Alfonso Cuarón, his close friend andcolleague for over 20 years. Cuarón loved the idea, as did producer Frida Torresblanco, hispartner in the production company, Esperanto Filmoj. Esperanto thus joined forces with TheTequila Gang, the production company co-owned by del Toro and his longtime producer BerthaNavarro, to make the film. Torresblanco notes that the arrangement allowed for del Toro towork without creative restrictions. “Alfonso really was so curious about what Guillermowanted to do. He said, ‘I just want to make this happen – I want to see this movie!’ Alfonso hastotal trust in Guillermo,” she says. “I think for Alfonso, it was important to give Guillermo aplatform of total freedom. That’s something the three of them -- Alfonso, Guillermo andAlejandro González (Iñárritu) -- really need. To express themselves, to let their imaginationsgo.”

Adds del Toro, “Alfonso and I met at a time when we could only dream of film and went at itwith blind faith. We had worked together in a TV series and later, officially, as co-producers ofSebastián Cordero’s CRÓNICAS. We are truly like brothers. I wanted Alfonso involved as anofficial friend of the project that could help me and be a true champion when my strengthwaned. And he was.”

Like its fairy tale forebears, PAN’S LABYRINTH uses fantasy and the supernatural to confrontthe malevolence and violence of the real world, in this case Spain under Franco. Comments delToro, “PAN'S LABYRINTH unfurls during the middle of the pro-Franco period, and thus deals withfascism -- its very essence. For me, fascism is a representation of the ultimate horror and it is,

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in this sense, an ideal concept through which to tell a fairy tale aimed at adults. Becausefascism is first and foremost a form of perversion of innocence, and thus of childhood.”

He centered the story on a young girl, Ofelia, who enters the heart of Francoist darkness whenshe and her pregnant mother, Carmen, go to live with her new stepfather, Captain Vidal. Likegenerations of children before her, Ofelia has learned about good and evil from fairy tales inwhich life and death are a separated by a hair’s breadth. She hasn’t yet reached the age whereshe is ready to set aside those stories, and beings that have enchanted Ofelia in books willcome to inhabit the labyrinth she discovers on the grounds of Vidal’s headquarters.

Del Toro structured the narrative to shuttle between Ofelia’s private world and the historicreality of Franco’s Spain, a place of remorseless repression and wholesale violence personifiedby Captain Vidal. “Vidal is sent to destroy a group of people and he goes at it without evereven wondering who they are or why they do what they do. Sadly, I believe there are there arepeople out there that believe they can kill others ‘for their own good’ and that go to bedpeacefully, comforted by their beliefs,” del Toro comments.

Ofelia’s private world has its share of unsettling residents, including child-eating ogres and vilegiant toads. The Faun, a satyr who guards the labyrinth, is an enigma, by turns playful,complimentary, and fierce. That is essentially his nature, del Toro points out. “Satyrs areneither good nor bad in classical mythology. They are mischievous, ambiguous creatures thatcan kill a man or give birth to a field of flowers. They are Nature: uncaring but neutral. TheFaun is an ambassador, a test monitor that will push Ofelia towards revealing her own spirit orfailing to do so.”

Painstaking research informed del Toro’s portrait of both real and unreal worlds of PAN’SLABYRINTH. His thorough immersion in the history of the Spanish Civil War and its aftermathensured accuracy in every detail, from its depiction of Republican resistance in Northern Spainto the Nationalist insignia on various automobiles. Del Toro is well versed in mythology and thehistory and forms of fairy tales, as described by authors including Maria Tatar, Jack Zipes,Vladimir Propp and Bruno Bettelheim. He drew upon that knowledge in creating Ofelia’sadventures in the underworld. “All the elements are fashioned rigorously after classicalpatterns: the banquet where you should not eat, the three doors, the descent, the blood,etc.,” del Toro explains.

It is an environment that conjures shivers as easily as wonder. “This fairy world has a grimyedge to it,” del Toro affirms. “Even the fairies are meat eaters!! I wanted all the creatures tohave an air of menace. Fantasy is not an escape for Ofelia but it is a dark refuge. There issomething vaguely embryonic about all the magic environments because I believe that fairytales are ultimately about two things: facing the dragon or climbing back to our world inside.”

Casting: Del Toro wrote the part of Captain Vidal specifically for actor Sergi López (DIRTYPRETTY THINGS), who joined the project before there was an even a completed script. ExplainsTorresblanco, “Guillermo knew that he wanted Sergi López to play Vidal; he was totally in love

with his work.” She and del Toro traveled to Spain to meet with López and his agent. As sheremembers, “We had a fantastic paella and drinks in front of the sea. Sergi asked if he couldread the script, and Guillermo said, ‘There is no script. It’s just my idea.’ So he pitched theidea, and Sergi committed. He waited for us for a year to do this movie, actually. He reallywanted to work with Guillermo.”

The script more than fulfilled expectations when del Toro completed it the following year.Comments Torresblanco, “Guillermo was processing and processing in his head, and then he wassolving the problems and trying to put everything together in the most intelligent and originalway. Scene by scene, there is very meticulous thinking. So the moment that he transferred thatimagination to paper, everything made sense; there is nothing arbitrary in the movie or script.And it’s a script that makes you cry, you just feel all the emotions there, and the rhythm isincredible. It’s so beautifully written.”

Casting for the film was completed during the three months of pre-production in 2005.Auditions for the central role of Ofelia led the filmmakers to then 11-year-old Ivana Baquero,who had had small roles in a few Spanish films. “Some of the parts were so small that I wasnever able to spot her. I had to rely on her interview, and she was brilliant,” says del Toro.“I have worked with many, many kids in my life and Ivana is, bar none, the very best actress Ihave encountered in that range. She is amazing, and an absolute pro.”

Baquero was intrigued by the character. “Ofelia has lived her entire life with her mother in thecity, and the fact that she is going to live in a different and strange place scares her. She issurrounded by war and death, and lonely. She’s a very introverted girl, but at the same timevery smart and brave. The labyrinth is a door to another world where Ofelia can escape fromher stepfather and his violence. She has always read and dreamt about fantasy, fairy tales,fairies, princesses and princes, and now she can make her dreams come true.”

Del Toro handpicked all the adult cast members, who, in addition to López include MaribelVerdú as Mercedes, Ariadna Gil as Carmen, and Doug Jones in the dual roles of the Faun andthe Pale Man. They were actors whose work he admired, and with the exception of Jones, hecast them largely against type. “Sergi is brilliant at playing nasty men, though he is very oftencast in light comedies. Maribel is often cast as a spunky sex bomb, and Ariadna as anindependent, tough, modern woman. I think they all enjoy trying new things, new ways ofplaying in film,” says the filmmaker. As for Jones, who first worked with del Toro on 1997’sMIMIC and went on to HELLBOY’S Abe Sapiens, del Toro states: “For as long as I live andbreathe and there’s a monster in my movies, Doug Jones will be there. He is an amazingperformer that knows the advantages and limits of all prosthetics and make up.”

López describes Captain Vidal as “the most evil character I’ve ever played in my career. It isimpossible to improve upon it; the character is so solid and so well written. Vidal is deranged,a psychopath who is impossible to defend. Even though his father’s personality marked hisexistence -- and is certainly one of the reasons for his mental disorder -- that cannot be an

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excuse. It would seem to me very cynical to use that to justify or explain his cruel andcowardly acts. I think it is great that the film does not consider any justification of fascism.”

Verdú’s character, Mercedes, is the closest thing Ofelia has to a confidante. The actressbelieves that Mercedes recognizes something of herself in the dreamy little girl. “BothMercedes and Ofelia hide secrets that nobody knows, only they. They are accomplices and livefrightened in a world from which they want to escape,” Verdú remarks. “Mercedes is a sad,scared and introverted woman who is quiet and observes. But along the way, she discovers thatshe actually is incredibly strong -- a fighter.”

With the death of her mother, Ofelia, too, emerges as a fighter. “She feels empty and sad butthe birth of her brother gives her a last connection with her mother,” comments Baquero. “Shetries to save her brother from Vidal and all the misery around them. She is much braver thanVidal, and she pays a heavy price.”

About the Filming: Preparations for PAN’S LABYRINTH were completed at lightning speed, injust three months in 2005. However, del Toro had begun working on set and character sketchesearly on, adding still more after completing the screenplay. His main visual influences werepaintings and illustrations, rather than films. “I love the fairy tale illustrations of ArthurRackham, Edmund Dulac, and Kay Nielsen and remain entranced by the way they made fairytales sensual and dark. Rackham, in particular, was key in this film. There is a perverseundercurrent in his work. His vision was plagued by knotty, twisted things that had a perversewill to live.”

His collaboration with his longtime director of photography Guillermo Navarro and productiondesigner Eugenio Caballero moved swiftly. Recalls del Toro, “We were popping out set designsin one or two days. It was very intricate work: puppetry, traditional prosthetics, CGI, etc., butexecuted in a context that was totally unexpected. Eugenio and Guillermo were completelyattuned to what I wanted. We were all incredibly driven by this.”

Having established the classical motifs of the film’s fairy tale universe, del Toro let hisimagination run wild in conjuring its various denizens, from the ghastly Pale Man with his eyesin his hands to the singularly repulsive Giant Toad. As strange as they are, these characters arenot entirely separate from the world of Vidal and his men. When Vidal’s dinner guests arriveduring a rainstorm one night, the umbrellas that inflate to shelter them are remarkably like theheaving black flesh of the Giant Toad confronted by Ofelia. “I tried to very delicately tracevisual and content parallels between the real world characters and sets with the imaginaryones,” del Toro acknowledges.

One of the most impressive expressions of del Toro’s imagination is the Faun, a toweringcreature with ram’s horns, mysterious opaque eyes, cascading blond hair, and a strangelyjagged body. The costume was made mostly of latex rubber foam, and the ram horns weremade of fiberglass horns; makeup for actor Doug Jones took five hours each day. Whenperforming, Jones operated the lower half of the Faun’s head, while an off-camera puppeteer

controlled the movement of the creature’s opaque eyes and eyebrows through a machineinstalled inside the head. That puppeteer was also responsible for Jones’ makeup, so the twowould run through a scene during makeup. Comments Jones, “I trusted totally that whoeverwas operating the eyebrows and the eyes was working in concert with the bottom half of theface that I was operating, and with my body posture, the tilt of the head and the dialogue thatI was speaking. If Pan had one of his explosions, the puppeteer knew when that came. Hewould watch my body language and follow that with his upper-half facial expressions.”

PAN’S LABYRINTH filmed for 11 weeks from June to October of 2005 in Madrid and the suburbsoutside Madrid. It was Spain’s driest summer in decades -- a considerable problem for a storythat unfolds in a verdant forest. Reports del Toro, “Everything was dry and brown. We literallyhad to shoot only around shaded areas where ferns grew for a few weeks. Immediately atcamera left or right in most shots, the field was dry and dead.”

Weather aside, the filming was a memorable and enjoyable experience. Baquero reports thatshe loved working with del Toro and her fellow actors. “Guillermo and I started workingtogether a few weeks before shooting, and we talked a lot about Ofelia. I had to know stuffabout her that wasn't in the script, but was necessary in order to build the character. Guillermois like an open book. He knows everything and is very smart. I tried to learn as much as I couldfrom him,” she says. She also enjoyed watching López transform himself into the evil Vidal.“Sergi is such a funny and good man but Vidal is so mean and raw. It was incredible seeing himbecome Vidal. Working with all these amazing actors was a great experience.”

López relished his chance to be the true monster of PAN’S LABYRINTH. “I just had to let myselfgo and be the ogre of the film and enjoy the present that Guillermo gave me,” he reports. “Forme it was like a big dream -- submerging myself in Guillermo’s fantastic and overflowinguniverse.”

Del Toro turned to DEVIL’S BACKBONE composer Javier Navarrete to create the score for PAN’SLABYRINTH, and entrusted the sound design to Martín Hernández, who has worked on all ofIñárritu’s films as well as CITY OF GOD. The score and sound design combined to create anatmosphere del Toro describes as “very expressive, very grand, fairy-tale like in some aspects.Martín Hernández and his team prepared thousands of sound tracks for environments andcreatures. Javier Navarrete created a very emotional score. I felt that the central piece shouldbe a lullaby, one that would suggest some Celtic elements in the North of Spain and be full ofsadness. We tailored the score on the basis of ‘themes’ for each character and its environment,thus giving each situation its own sound and personality.”

Cuarón accompanied del Toro to the world premiere of PAN’S LABYRINTH at the 2006 CannesFilm Festival. “There was 22 minutes of applause. It was so beautiful to watch that,” Cuarónrecalls. “This film is a big bang of Guillermo -- if anything, the film shows Guillermo’s truepotential. It’s the pinnacle of what he’s been trying to do in his most personal films, like THEDEVIL’S BACKBONE and also HELLBOY, in which you have these comic book characters have

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highly metaphysical conversations. Guillermo masters the genre, but the story also expresseshis very personal philosophy.”

He continues, “These films are about moral choices. And they have to do with the universe ofchildren, and how ideology becomes the first big trap and prison for humanity. What is amazingis how Guillermo juggles it all. He doesn’t lose a beat of the suspense of the fantasy world thathe’s presenting. And he doesn’t lose a beat in the political discourse that he’s delivering. Andwithin all that, there is the humanism of the piece.”

PAN’S LABYRINTH is an affirmation, serious and beautiful, of the centrality of stories and theimagination in withstanding the world’s horrors. Says del Toro, “I know for a fact thatimagination and hope have kept me alive through the roughest times in my life. Reality isbrutal and it will kill you, make no mistake about it, but our tales, our creatures and ourheroes have a chance to live longer than any of us. Franco suffocated Spain for decades as hetried to fashion it after what he believed to be ‘good for her.’ Yet Spain didn't die; she explod-ed, vibrant and alive, in the 80’s. Spain lived the 60’s in the 80’s and they are still feeling theaftershocks of such a wonderful explosion.”

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ABOUT THE FILMMAKERS

GUILLERMO DEL TORO (Writer/Director/Producer)

The world premiere of his latest feature PAN’S LABYRINTH (EL LABERINTO DEL FAUNO) incompetition at the 2006 Cannes International Film Festival brings Mexican filmmaker Guillermodel Toro full circle to the place where his international career was launched. At the 1993festival, del Toro’s first feature, the Mexican-American co-production CRONOS, won the Critics’Week FRIPRESCI award. Along with its nine Ariels (Mexican Academy Awards®), the filmestablished del Toro as one of the most admired and sought-after international writer-directors.

A devotee of the gothic horror genre, del Toro followed CRONOS with the environmental horrorfilm MIMIC for Dimension Films, which he directed and co-wrote. Mira Sorvino, JeremyNortham, Josh Brolin, and Charles Dutton star in the film. After completing the New Linevampire film BLADE II, starring Wesley Snipes and Kris Kristofferson, del Toro began work onHELLBOY for Revolution Studios. Based on the Dark Horse graphic novels by Mike Mignola, thefilm has been a critical and commercial success. Del Toro recently completed the screenplayfor the sequel, HELLBOY 2: THE GOLDEN ARMY, which he will also direct.

Del Toro’s Spanish language gothic film THE DEVIL’S BACKBONE, appeared on the "Best of 2001"lists of such publications as the New York Times and Newsweek. The film, which stars EduardoNoriega, Marisa Paredes, and Federico Luppi, is a co-production between Pedro Almodovar’s ElDeseo and del Toro’s Mexican production company Tequila Gang. The film screened at theLocarno, Edinburgh, Toronto, and Telluride Film Festivals.

In addition to HELLBOY 2, del Toro is writing and will direct an adaptation of Roald Dahl’s darkchildren’s classic THE WITCHES, which Alfonso Cuarón’s Esperanto Filmoj will produce forWarner Brothers. His other projects include THE COFFIN, based on the cult comic book atJames Cameron’s Lightstorm Entertainment; KILLING AT CARNIVAL ROW, for producer ArnoldKopelson and New Line Cinema; AT THE MOUNTAINS OF MADNESS, based on the H.P. Lovecraftbook, which he will direct and co-produce with Don Murphy’s Angry Films; and THE LEFT HANDOF DARKNESS with Francis Ford Coppola’s American Zoetrope.

Del Toro is also a founding partner in the Mexico City-based production company Tequila Gang,which recently produced the Spanish language festival hit CRONICAS. He has served as a mentorfor many young filmmakers and has been a force behind both the Guadalajara Film Festival andthe Sundance Institute’s filmmaker lab held annually in Guadalajara, Mexico. He is currentlyproducing Spanish director Juan Antonio Bayona’s feature film THE ORPHANAGE and serves asexecutive producer on Chilean director Jorge Olguin‘s feature THE CALL OF THE SEA.

Born in 1964 in Guadalajara, Mexico, del Toro attended the University of Guadalajara. Hetrained with Oscar®-winning makeup and special effects artist Dick Smith and later establishedhis own special effects and makeup company, Necropia, S.A., in Guadalajara. Early in his

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career, he produced and directed extensively for television in Mexico. He created and directednumerous episodes of the Mexican television series HORA MARCADA for Televisa. In 1985, at theage of twenty-one, he produced the feature film DONA HERLINDA AND HER SON for directorJaime Humberto Hermosillo.

Del Toro has served on many film festival juries. He was a member of the Independent FilmProject’s Spirit Awards jury in 1999 and 2000. He was a judge and mentor for the 2000 NHKAwards and presented those awards at the Sundance Film Festival that year.

Del Toro is the author of a critical study of the films of Alfred Hitchcock published by theUniversity of Guadalajara Press. His screenplay for CRONOS has been published in Mexico byMiracle Press. His HELLBOY screenplay, along with some of his conceptual artwork for the film,has recently been published by Dark Horse Publications.

BERTHA NAVARRO (Producer)

One of Mexico’s leading producers, Bertha Navarro studied all aspects of filmmaking. In the late1970s, she wrote, directed and edited the documentaries NICARAGUA, LOS QUE HARAN LALIBERTAD and CRÓNICAS DEL OLVIDO, after which she dedicated herself exclusively to producing.Navarro already had more than a dozen films to her credit (including Paul Leduc’s REED: MEXICOINSURGENTE and Gregory Nava’s 1983 classic EL NORTE), when she produced Guillermo del Toro’sdebut feature, CRONOS, in 1992. Navarro subsequently formed the production company TheTequila Gang with del Toro and produced the writer/director’s 2001 Spanish Civil War ghost storyTHE DEVIL’S BACKBONE. Navarro’s other credits include Paul Leduc’s DOLLAR MAMBO (1993), JohnSayles’ MEN WITH GUNS (1997), Carlos Carrera’s UN EMBRUJO (1998), Chilean filmmaker AndresWood’s award-winning LA FIEBRE DEL LOCO, and Sebastián Cordero’s award-winning CRÓNICAS. In2002, she produced ASESINO EN SERIO by Antonio Urrutia, having also produced his 1986 Oscar®-nominated short DE TRIPAS CORAZON starring Gael García Bernal. Most recently, Navarroproduced Paul Leduc’s EL COBRADOR: IN GOD WE TRUST, a world premiere at the 2006 VeniceFilm Festival.

ALFONSO CUARÓN (Producer)

Born in Mexico City, Alfonso studied, but didn’t finish degrees in philosophy or film studies atthe National Autonomous University of Mexico (UNAM). He made his way working as a runner,boom man, film loader, editor, camera man, and assistant director until directing his firstfeature SOLO CON TU PAREJA in 1991. The film, written by Carlos Cuaron, won the MexicanAcademy Award® for best original screenplay.

In 1995 he directed A LITTLE PRINCESS. The film earned several awards and was nominated fortwo Hollywood Academy® Awards. In 1998 he directed GREAT EXPECTATIONS, with the castincluding Ethan Hawke, Gwyneth Paltrow, Robert De Niro and Anne Bancroft. In 2001, hedirected Y TU MAMA TAMBIEN. The film, co-written with Carlos Cuaron, was awarded the Silver

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Lion for best original screenplay at the Venice Film Festival and the Marcello Mastroianni Awardfor best breakthrough performance to Diego Luna and Gael Garcia Bernal. The film earnedother awards and was nominated for Best Original Screenplay at the Academy Awards® and theBAFTAs.

In 2004 Alfonso directed HARRY POTTER AND THE PRISONER OF AZKABAN, followed by asegment of PARIS, JE T'AIME which was presented in Un Certain Regard at the 2006 Cannes FilmFestival. Also in 2004 he produced the films THE ASSASSINATION OF RICHARD NIXON by NielsMuller and CRONICAS by Sebastian Cordero, both of which premiered at Un Certain Regard atthe 2004 Cannes Film Festival.

In 2005, Alfonso created Esperanto Filmoj. Based in New York, Esperanto is developing THEHISTORY OF LOVE adapted from the novel by Nicole Krauss and Roald Dahl’s THE WITCHES, bothwith Warner Bros. Alfonso's debut feature, SOLO CON TU PAREJA, is being released for the firsttime in the US through IFC Films, with Esperanto. The film is also being released on SpecialEdition Criterion Collection DVD. Esperanto Filmoj produced PAN'S LABYRINTH, whichpremiered in the Official Competition at the 2006 Cannes Film Festival.

In 2006 Alfonso directed CHILDREN OF MEN which he and Tim Sexton co-wrote, based on thePD James novel.

FRIDA TORRESBLANCO (Producer)

Frida received her B.A. in Film and Media Studies from Metropolitan University, an M.A. inCommunication Studies from the Complutense University of Madrid and an M.A. in Literatureand Scriptwriting from Madrid’s School of Literature. She worked as Assistant Director onseveral films, documentaries, TV series and ads in Spain, Europe, the U.S. and Morocco,including MARATHON, by Carlos Saura, official film of the 1992 Olympics, CHRISTOPHERCOLUMBUS THE DISCOVERY with Marlon Brando, directed by John Glen, and Fernando Trueba'sTHE IDEAL WOMAN.

Frida then acted as Production Coordinator and Line Producer on several documentaries,including Javier Rioyo and José Luis López Linares' BUÑUEL and STORMING THE HEAVENS: THEDEATH OF LEON TROTSKI, where she also directed the Second Unit. Frida was one of thefounding members of Spain’s Globo Media Group, where she produced a number of projectsincluding the hit series COMPAÑEROS and MORE THAN FRIENDS, and the documentary WENCES100 YEARS.

For five years, Frida was responsible for the production design, pre-production and sales ofLolafilms' international English-language productions, including THE DANCER UPSTAIRS, directedby John Malkovich and starring Javier Bardem, RAIN, directed by Katherine Lindberg, OFF KEY,directed by Manuel Gómez Pereira and THE GIRL FROM RÍO, directed by Christopher Monger.

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While at Lolafilms, Frida also produced Susan Seidelman's GAUDI AFTERNOON starring MarciaGay Harden and Judy Davis. As part of her tenure at Lolafilms, Frida created Lolafilms'television department, Lola Television, where she executive produced several outstandingprojects, including the award-winning program LA GRAN ILUSION, among others. She alsoheaded Lolafilms’ Department of New Media.

In 2001, filmmaker Alfonso Cuarón brought Frida in to head his newly established New YorkCity-based production company. Frida coordinated, with IFC Films, the US distribution of Y TUMAMA TAMBIEN as well as the film’s publicity and its Academy Awards campaign. For the nextthree years, she served as Executive Producer and creative on-set Producer for the films THEASSASSINATION OF RICHARD NIXON, directed by Niels Mueller and starring Sean Penn,CRONICAS, directed by Sebastian Cordero and starring John Leguizamo, and the documentaryBLACK SUN.

In 2005, Alfonso created Esperanto Filmoj. Frida heads Esperanto from New York, and iscurrently responsible for developing THE HISTORY OF LOVE adapted from the novel by NicoleKrauss and Roald Dahl’s THE WITCHES, both with Warner Bros. Frida has just coordinated the UStheatrical release of Alfonso Cuarón’s debut feature, SOLO CON TU PAREJA, through IFC Films.The film is also being released on Special Edition Criterion Collection DVD.

Frida, Alfonso, and filmmaker Guillermo del Toro, have partnered to create OMM Productions.Based in Spain, the company formed as an outlet to produce films in Europe. OMM’s firstproject, produced in conjunction with Esperanto Filmoj, is PAN’S LABYRINTH.

ÁLVARO AUGUSTIN (Producer)

Born in Madrid in 1966, Álvaro Augustin began his film and TV career in distribution. Afterworking in the programming departments of several networks and running an audiovisualconsultancy, he joined private broadcaster Telecinco, where he is currently Head of FeatureFilm Productions. Through Telecinco’s film production branch Estudios Picasso, he hasparticipated in the production of several features, including some of the most successful filmsof current Spanish cinema: EL OTRO LADO DE LA CAMA, DÍAS DE FÚTBOL and EL LOBO. He iscurrently working on the production of ALATRISTE, directed by Augustín Díaz Yanes and starringViggo Mortensen.

GUILLERMO NAVARRO ASC (Director of Photography)

Guillermo Navarro is a long-standing collaborator of Guillermo del Toro's, a fellow Mexicanliving in Los Angeles. Navarro has shot all of del Toro’s films since CRONOS, with the exceptionof MIMIC and BLADE II. Navarro draws on an endlessly rich palette, in perfect accord with theworlds created by del Toro in CRONOS, THE DEVIL'S BACKBONE, HELLBOY, and now PAN'SLABYRINTH. In addition to his collaborations with del Toro, Navarro has also worked ascinematographer on several films by another compatriot, Robert Rodriguez, including

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DESPERADO, FROM DUSK TILL DAWN and SPY KIDS, as well as Quentin Tarantino’s JACKIEBROWN. Other credits include Renny Harlin’s THE LONG KISS GOODNIGHT; Rob Minkoff’s STUARTLITTLE; Mark Dippé’s SPAWN by, adapted from the comic-book by Todd McFarlane; and mostrecently Jon Favreau’s ZATHURA. Navarro, who began his career filming documentaries in SouthAmerica, also shot the Emmy-nominated National Geographic special, LOST KINGDOMS OF THEMAYA. He is currently working on NIGHT AT THE MUSEUM by director Shawn Levy (THE PINKPANTHER).

EUGENIO CABALLERO (Production Designer)

Born in Mexico, Eugenio Caballero studied art history and cinema history at the University ofFlorence between 1989 and 1991. The following year, he returned to the country of his birth tostudy first set design at the National Institute of Fine Arts (FINA) then production design at theUniversidad Iberoamericana in 1993. He first worked on numerous commercials and video clips,notably those by Café Tacuba, on which he collaborated with many of Mexico's finest directorsand for which he won two MTV Awards. He worked as design assistant on more than a dozenfilms, including Baz Luhrmann's ROMEO + JULIETTE. His credits as production designer includeJorge Aguilera’s SERES HUMANOS; Antonio Urrutia’s ASESINO EN SERIO; Carlos Salces’ ZURDO;Alejandro Springall’s SANTITOS; and Sebastian Cordero’s CRÓNICAS, produced by AlfonsoCuarón, Guillermo del Toro, Bertha Navarro and Frida Torresblanco. Caballero is currentlyworking on RESIDENT EVIL: EXTINCTION, third installment of the hugely successful franchise, tobe directed by Russell Mulcahy.

DAVID MARTI (Special Effects Supervisor/DDT Efectos Especiales)

Of Spanish descent, David Marti has worked in the domain of special effects for the past 15years. Early ambitions to become a comic-book artist were soon abandoned: while watching thefirst of the STAR WARS trilogy, and above all John Huston's THE LIST OF ADRIAN MESSENGER, inwhich numerous disguised characters remove their make-up at the film's finale, somethingclicked. While working in advertising, Marti enrolled in the Dick Smith make-up correspondencecourse, perfect training for his future career.

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ABOUT THE CAST

SERGI LÓPEZ (Vidal)

Born in 1965 in Vilanova i la Geltru, a small village near Barcelona, as an adolescent SergiLópez preferred to study acting and circus arts rather than follow a more conventionalscholastic path. He put on his own plays with a troupe of friends before leaving Spain to enrollin Jacques Lecoq's prestigious Ecole Internationale de Théâtre in Paris, where the emphasis wasstrongly on the physical aspect of the craft. It was in Paris, in 1992, that he met directorManuel Poirier, who immediately offered him a role in LA PETITE AMIE D’ANTONIO. The filmbrought López the Prix Michel Simon in 1993 and marked the beginning of a long collaborationwith Poirier. The two went on to make seven more features together: A LA CAMPAGNE (1994);ATTENTION FRAGILE (1995); MARION (1996); WESTERN (1997), which won the Jury Prize inCannes and for which López was awarded the Best actor Prize at the International CataloniaFilm Festival and nominated for the Best Male Newcomer César; TE QUIERO (2000); LESFEMMES… OU LES ENFANTS D’ABORD (2001) and lastly CHEMINS DE TRAVERSE (2003). López hassince divided his career largely between France and Spain, often acting more than once fordirectors like Ventura Pons (CARESSES in 1997 and MORIR (O NO) in 2000); Luis MiguelAlbaladejo (ATAQUE VERBAL in 1999 and EL CIELO ABIERTO in 2001); and Marion Vernoux (RIENÀ FAIRE in 1999 and REINES D’UN JOUR in 2001). He is noted for playing ambiguous or sociopathroles, perhaps most notably that of Harry in Dominik Moll’s HARRY, HE'S HERE TO HELP, a rolefor which he won a César for Best Actor in 2001 and which elevated him to true celebritystatus. Other notable credits include Antonio Hernandez’s LISBOA; Manuel Gomez Pereira’sENTRE LAS PIERNAS; UNE LIAISON PORNOGRAPHIQUE (AN AFFAIR OF LOVE) opposite NathalieBaye; Danièle Thompson’s DÉCALAGE HORAIRE; Claude Duty’s FILLES PERDUES, CHEVEUX GRAS;Hélène Angel’s RENCONTRE AVEC LE DRAGON; Stephen Frears’ DIRTY PRETTY THINGS; SamuelBenchetrit’s JANIS AND JOHN; Alain Corneau’s LES MOTS BLEUS; and Eric Barbier’s TOREROS, inwhich he appeared opposite Maribel Verdú, with whom he is reunited in PAN'S LABYRINTH.

López is currently filming Arnaud des Pallières’ PARC and J’AI TOUJOURS RÊVÉ D’ÊTRE UNGANGSTER, his second film with Samuel Benchetrit.

MARIBEL VERDÚ (Mercedes)

Born Maria Isabel Verdú Rollan in 1970 in Madrid, to a model mother and salesman father, MaribelVerdú underwent a strict convent education. As a child she wanted to be a teacher, then aprivate detective, then an actress who would play teachers or private detectives! When she was13, her mother enrolled her in the same modeling agency as her own and Maribel was quicklyengaged for magazine and advertising work. Her career as an actress began only a few monthslater when producer Jaime Fernandez Cid spotted her. He immediately cast her opposite VictoriaAbril in the TV movie EL CRIMEN DEL CAPITAN SANCHEZ. Two years later, in 1986, came her firststarring role in Fernando Trueba's EL ANO DE LAS LUCES. Verdú numbers some 50 films amongsther credits, notably: Montxo Armendariz’s 27 HORAS; Mario Camus’ LA FEMME ET LE PANTIN;

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Bigas Luna’s MACHO; Eric Barbier’s TOREROS; and Carlos Saura’s GOYA. But it was the role ofLuisa Cortés, opposite Diego Luna and Gael García Bernal in Alfonso Cuarón's Y TU MAMÁ TAMBIÉNthat was to bring her true international recognition. As one of the co-producers of PAN'SLABYRINTH, Alfonso Cuarón played a determining part in choosing Maribel Verdú to playMercedes, the housekeeper in charge of Captain Vidal's domicile. It is her most recent role todate.

IVANA BAQUERO (Ofelia)

Just 12 years old, young Spanish actress Ivana Baquero already has four films to her credit, allproduced by the Spanish company Filmax International - more precisely for that company's genrespecialist subsidiary, Fantastic Factory. She made her debut in L’ENFER DES LOUPS (ROMASANTA)by Paco Plaza, who also directed her in THE BABY’S ROOM. Baquero has also appeared in BrianYuzna’s ROTTWEILER, and most recently, in Jaume Balagueró's FRAGILE, alongside CalistaFlockhart.

DOUG JONES (Faun/Pale Man)

The youngest of four children, Doug Jones was in 1960 in Indianapolis, IN, USA. He was educatedat Bishop Catard High School and later Ball State University in Indianapolis, leaving with a degreein telecommunications and theatre. At the same time, he was studying mime for pleasure, neversuspecting that it would one day become his career. Having trod the boards in various theatrepieces, he left Indianapolis for Los Angeles in 1985 to pursue a film career. A fistful of B-movies(NIGHT ANGEL, CARNAL CRIMES, MAGIC KID, among others) was followed by a role as one ofDanny DeVito's henchmen in Tim Burton's BATMAN RETURNS. Jones has been in work solidly eversince, appearing in some forty feature film and TV series appearances, and more than 90 musicvideos, notably for Madonna and Marilyn Manson.

For del Toro, Doug Jones has already portrayed one of the humanoid cockroaches in MIMIC, andthe aquatic Abe Sapien in HELLBOY. Other cinema roles, sometimes hidden behind elaboratemake-up, include: M. Night Shyamalan’s THE LADY IN THE WATER; the comedy BENCHWARMERS,with David Spade and Rob Schneider; HOCUS POCUS, with Bette Midler and Sarah Jessica Parker;MYSTERY MEN with Ben Stiller; THE TIME MACHINE by Gore Verbinski and Simon Wells; BarrySonnenfeld's MEN IN BLACK 2; Spike Jonze's ADAPTATION; and most recently Andrzej Bartkowiak'sDOOM. On television, Jones made an indelible appearance in the “Buffy the Vampire Slayer”episode “‘Hush,” which was nominated for two Emmy Awards. Other television credits include“Criminal Minds,” “C.S.I.,” “Tales from the Crypt” and “The Guardian.”

ARIADNA GIL (Carmen)

Born in 1969 in Barcelona, Ariadna Gil has appeared in more than 40 films. The daughter of aneminent lawyer, she studied singing, classical dance and violin as a child. She began movingtowards theatre and television at age 17, following her appearance on the cover of anavant-garde magazine. It was at this period, in 1986, that Bigas Luna noticed her and offered

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Gil her first film role in LOLA. Her appearance opposite Javier Bardem in the comedy AMO TUCAMA RICA brought her widespread recognition in 1991, a fame consolidated the following yearwith Fernando Trueba's romantic comedy BELLE EPOQUE, in which she appeared alongsidePenelope Cruz. It was while shooting the latter that she met actor-director David Trueba, brotherof Fernando, and her future husband. Numerous Spanish and French box-office hits havefollowed: Fina Torres’ MÉCANIQUES CÉLESTES (CELESTIAL CLOCKWORK); Vincente Aranda’sLIBERTARIAS; Jacques Weber’s DON JUAN; Géraldo Vera’s DEUXIÈME NATURE; Sergei Bodrov’s LEBAISER DE L’OURS; Fabien Onteniente’s JET SET; Joaquin Oristrell’s MANIFESTO; Arturo Ripstein’sLA VIERGE DE LA LUXURE; and most recently Fernando Trueba's L’ENVOÛTEMENT DE SHANGAÏ andher husband David Trueba's SOLDADOS DE SOLAMINA.

Famed for taking difficult parts, Gil will soon be seen in Augustin Diaz Yanes’ ALATRISTE by andAlberto Lecchi’s UNA ESTRELLA Y DOS CAFES.

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