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14 Fantastical Facts About Pan's Labyrinth

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Between his modest comic book hits Hellboy and Hellboy II: The Golden Army, imaginative Mexican filmmaker Guillermo del Toro made a film that was darker and more in Spanish: Pan's Labyrinth, a horror-tinged fairy tale set in 1944 Spain, under fascist rule. Like many of del Toro's films, it's a political allegory as well as a gothic fantasy. The heady mix of whimsy and violence wasn't everyone's cup of tea, but it won enough fans to make $83.25 million worldwide and receive six Oscar nominations (it won three). Here are some details to help you separate fantasy from reality the next time you take a walk in El Laberinto del Fauno.

1. IT'S A COMPANION PIECE TO THE DEVIL'S BACKBONE.

Del Toro intended Pan's Labyrinth to be a thematic complement to The Devil's Backbone, his 2001 film set in Spain in 1939. The movies have a lot of similarities in their structure and setup, but del Toro says on the Pan's Labyrinth DVD commentary that the events of September 11, 2001—which occurred five months after The Devil's Backbone opened in Spain, and two months before it opened in the U.S.—changed his perspective. "The world changed," del Toro said. "Everything I had to say about brutality and innocence changed."

2. IT HAS A CHARLES DICKENS REFERENCE.

When Ofelia (IvanaBaquero) arrives at Captain Vidal's house, goes to shake his hand, and is gruffly told, "It's the other hand," that's a near-quotation from Charles Dickens' David Copperfield, when the young lad of the title meets his mother's soon-to-be-husband. Davey's stepfather turns out to be a cruel man, too, just like Captain Vidal (Sergi López).

3. DUE TO A DROUGHT, THERE ARE VERY FEW ACTUAL FLAMES OR SPARKS IN THE MOVIE.

The region of Segovia, Spain was experiencing its worst drought in 30 years when del Toro filmed his movie there, so his team had to get creative. For the shootout in the forest about 70 minutes into the movie, they put fake moss on everything to hide the brownness, and didn't use squibs (explosive blood packs) or gunfire because of the increased fire risk. In fact del Toro said that, except for the exploding truck in another scene, the film uses almost no real flames, sparks, or fires. Those elements were added digitally in post-production.

4. IT CEMENTED DEL TORO'S HATRED OF HORSES.

The director is fond of all manner of strange, terrifying monsters, but real live horses? He hates 'em. "They are absolutely nasty motherf*ckers," he says on the DVD commentary. His antipathy toward our equine friends predated Pan's Labyrinth, but the particular horses he worked with here—ill-tempered and difficult, apparently—intensified those feelings. "I never liked horses," he says, "but after this, I hate them."

5. THE FAUN'S IMAGE IS INCORPORATED INTO THE ARCHITECTURE.

If you look closely at the banister in the Captain's mansion, you'll see the Faun's head in the design. It's a subtle reinforcement of the idea that the fantasy world is bleeding into the real one.

6. IT MADE STEPHEN KING SQUIRM.

Del Toro reports that he had the pleasure of sitting next to the esteemed horror novelist at a screening in New England, and that King squirmed mightily during the Pale Man scene. "It was the best thing that ever happened to me in my life," del Toro said.

7. IT REFLECTS DEL TORO'S NEGATIVE FEELINGS TOWARD THE CATHOLIC CHURCH.

Del Toro told an interviewer that he was appalled by the Catholic church's complicity with fascism during the Spanish Civil War. He said the priest's comment at the banquet table, regarding the dead rebels—"God has already saved their souls; what happens to their bodies, well, it hardly matters to him"—was taken from a real speech that a priest used to give to rebel prisoners in the fascist camps. Furthermore, "the Pale Man represents the church for me," Del Toro said. "He represents fascism and the church eating the children when they have a perversely abundant banquet in front of them."

8. THERE'S A CORRECT ANSWER TO THE QUESTION OF WHETHER IT'S REAL OR ALL IN OFELIA'S HEAD.

Del Toro has reiterated many times that while a story can mean different things to different people, "objectively, the way I structured it, there are clues that tell you ... that it's real." Specifically: the flower blooming on the dead tree at the end; the chalk ending up on Vidal's desk (as there's no way it could have gotten there); and Ofelia's escape through a dead end of the labyrinth.

9. THE PLOT WAS ORIGINALLY EVEN DARKER.

In del Toro's first conception of the story, it was about a married pregnant woman who meets the Faun in the labyrinth, falls in love with him, and lets him sacrifice her baby on faith that she, the baby, and the Faun will all be together in the afterlife and the labyrinth will thrive again. "It was a shocking tale," Del Toro said.

10. THE SHAPES AND COLORS ARE THEMATICALLY RELEVANT.

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Del Toro points out in the DVD commentary that scenes with Ofelia tend to have circles and curves and use warm colors, while scenes with Vidal and the war have more straight lines and use cold colors. Over the course of the film, the two opposites gradually intrude on one another.

11. THAT VICIOUS BOTTLE ATTACK COMES FROM AN INCIDENT IN DEL TORO'S LIFE.

Del Toro and a friend were once in a fight during which his friend was beaten in the face with a bottle, and the detail that stuck in the director's memory was that the bottle didn't break. That scene is also based on a real occurrence in Spain, when a fascist smashed a citizen's face with the butt of a pistol and took his groceries, all because the man didn't take off his hat.

12. DOUG JONES LEARNED SPANISH TO PLAY THE FAUN.

The Indiana-born actor, best known for working under heavy prosthetics and makeup, had worked with del Toro on Hellboy and Mimic and was the director's first choice to play the Faun and the Pale Man. The only problem: Jones didn't speak Spanish. Del Toro said they could dub his voice, but Jones wanted to give a full performance. Then del Toro said he could learn his Spanish lines phonetically, but Jones thought that would be harder to memorize than the actual words. Fortunately, he had five hours in the makeup chair every day, giving him plenty of time to practice. And then? Turns out it still wasn't good enough. Del Toro replaced Jones's voice with that of a Spanish theater actor, who was able to make his delivery match Jones's facial expressions and lip movements.

13. NEVER MIND THE (ENGLISH) TITLE, THAT ISN'T PAN.

The faun is a mythological creature, half man and half goat, who represents nature (it's where the word "fauna" comes from) and is neutral toward humans. Pan is a specific Greek god, also goat-like, who's generally depicted as mischievous, harmful, and overly sexual—not a creature you'd be comfortable seeing earn the trust of a little girl. In Spanish, the film is called El Laberinto del Fauno, which translates to The Faun's Labyrinth. "Pan" was used for English-speaking audiences because that figure is more familiar than the faun, but you'll notice he's never called Pan in the film itself. "If he was Pan, the girl would be in deep sh*t," del Toro told one interviewer.

14. DEL TORO WROTE THE ENGLISH SUBTITLES HIMSELF.

After being disappointed by the way the translators handled The Devil's Backbone ("subtitles for the thinking impaired"), the Mexican filmmaker, who speaks fluent English, did the job himself for Pan's Labyrinth. "I took about a month with a friend and an assistant working on them, measuring them, so that it doesn't feel like you're watching a subtitled film," he said.

Additional Sources:
DVD features and commentary

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Revisit Your Teen Years With Vintage Sweet Valley High Editions
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The '80s and '90s were a special time to be a reading-obsessed child. Young adult series like The Baby Sitter’s Club and Sweet Valley High were in their prime (and spawning plenty of spinoffs and blatant knockoffs), with numerous books a year—Sweet Valley High creator Francine Pascal published 11 books in her series in 1984 alone.

You can't find original Sweet Valley High books on the shelves anymore (unless you want to read the tweaked re-release versions published in 2008), but fans of Jessica and Elizabeth no longer have to trawl eBay looking for nostalgic editions of their favorite installments of the series. Always Fits, a website that sells gifts it describes as “nostalgic, feminine, feminist and wonderful,” has tracked down as many vintage teen series from the '80s and '90s as it can, including a number of Sweet Valley High books.

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The collection of books was sourced by the Always Fits team from vintage shops and thrift stores, and covers editions released between 1983 and 1994 (the series ran until 2003). While you can’t get a shiny new copy of books like Double Love, you can pretend that the slightly worn editions have been sitting on the bookshelf of your childhood bedroom all along.

Each of the Sweet Valley High books comes with an enamel pin inspired by the cover for one of the series's classic titles, Secrets. Unfortunately, you can’t pick and choose which installment you want—you’ll have to content yourself with a mystery pick, meaning that you may get In Love Again instead of Two-Boy Weekend. Hopefully you’re not trying to fill in that one hole from your childhood collection. (You may not be able to get Kidnapped by the Cult!, but it appears that Crash Landing!, with its amazingly ridiculous paralysis storyline, is available.)

The Sweet Valley High book-and-pin set is $18, or you can get a three-pack of random '80s books for the same price.

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10 Things You Might Not Know About Love Connection
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Between September 19, 1983 and July 1, 1994, Chuck Woolery—who had been the original host of Wheel of Fortune back in 1975—hosted the syndicated, technologically advanced dating show Love Connection. (The show was briefly revived in 1998-1999, with Pat Bullard as host.) The premise featured either a single man or single woman who would watch audition tapes of three potential mates discussing what they look for in a significant other, and then pick one for a date. The producers would foot the bill, shelling out $75 for the blind date, which wasn’t taped. The one rule was that between the end of the date and when the couple appeared on the show together, they were not allowed to communicate—so as not to spoil the next phase.

A couple of weeks after the date, the guest would sit with Woolery in front of a studio audience and tell everybody about the date. The audience would vote on the three contestants, and if the audience agreed with the guest’s choice, Love Connection would offer to pay for a second date.

The show became known for its candor: Couples would sometimes go into explicit detail about their dates or even insult one another’s looks. Sometimes the dates were successful enough to lead to marriage and babies, and the show was so popular that by 1992, the video library had accrued more than 30,000 tapes “of people spilling their guts in five-minutes snippets.”

In 2017, Fox rebooted Love Connection with Andy Cohen at the helm; the second season started airing in May. But here are a few things you might not have known about the dating series that started it all.

1. AN AD FOR A VIDEO DATING SERVICE INSPIRED THE SHOW.

According to a 1986 People Magazine article, the idea for Love Connection came about when creator Eric Lieber spied an ad for a video dating service and wanted to cash in on the “countless desperate singles out there,” as the article states. “Everyone thinks of himself as a great judge of character and likes to put in two cents,” Lieber said. “There’s a little yenta in all of us.”

2. CONTESTANTS WERE GIVEN SOMETHING CALLED A PALIO SCORE.

Staff members would interview potential contestants and rate them on a PALIO score, which stands for personality, appearance, lifestyle, intelligence, and occupation. Depending on the results, the staff would rank the potential guests as either selectors or selectees.

3. IN 1987, THE FIRST OF MANY LOVE CONNECTION BABIES WAS BORN.

John Schultz and Kathleen Van Diggelen met on a Love Connection date, which didn’t end up airing. “They said, ‘John, she’s so flat, if you can’t rip her up on the set, we can’t use you,’” he told People in 1988. “I said, ‘I can’t do that.’” However, they got married on an episode of Hollywood Squares. As the article stated, “Their son, Zachary, became the first baby born to a Love Connection-mated couple.”

4. IT LED TO OTHER DATING SHOWS, LIKE THE BACHELOR.

Mike Fleiss not only created The Bachelor and The Bachelorette, but he’s also responsible for reviving Love Connection. “I always had a soft spot for that show,” Fleiss told the Los Angeles Times in 2017. He said he was friends with Lieber and that the show inspired him to “venture into the romance TV space.” “I remember it being simple and effective,” he said about the original Love Connection. “And I remember wanting to find out what happened on those dates, the he said-she said of it all. It was intriguing.”

5. A FUTURE ACTOR FROM THE SOPRANOS WAS A CONTESTANT.

Lou Martini Jr., then known as Louis Azzara, became a contestant on the show during the late 1980s. He and his date, Angela, hit it off so well that they couldn’t keep their hands off one another during the show. Martini famously talked about her “private parts,” and she referred to him as “the man of my dreams.” The relationship didn’t last long, though. “I had just moved to LA and was not ready to commit to anything long-term," Martini commented under the YouTube clip. "The show was pushing me to ask her to marry me on the show!" If Martini looks familiar it’s because he went on to play Anthony Infante, Johnny Sack’s brother-in-law, on four episodes of season six of The Sopranos.

6. BEFORE THE SHOW WENT OFF THE AIR, A LOT OF CONTESTANTS GOT MARRIED.

During the same Entertainment Weekly interview, the magazine asked Woolery what the show’s “love stats” were, and he responded with 29 marriages, eight engagements, and 15 children, which wasn’t bad considering 2120 episodes had aired during its entire run. “When you think that it’s someone in our office putting people together through questionnaires and tapes, it’s incredible that one couple got married, much less 29,” he said.

7. CHUCK WOOLERY WAS AGAINST FEATURING SAME SEX COUPLES.

In a 1993 interview with Entertainment Weekly, the interviewer asked him “Would you ever have gay couples on Love Connection?” Woolery said no. “You think it would work if a guy sat down and I said, ‘Well, so where did you meet and so and so?’ then I get to the end of the date and say, ‘Did you kiss?’ Give me a break,” he said. “Do you think America by and large is gonna identify with that? I don’t think that works at all.” What a difference a quarter-century makes. Andy Cohen, who is openly gay, asked Fox if it would be okay to feature gay singles on the new edition of Love Connection. Fox immediately agreed.

8. ERIC LIEBER LIKED THE SHOW’S “HONEST EMOTIONS.”

When asked about the show's winning formula, Lieber once said: “The show succeeds because we believe in honest emotions. And, admit it—we’re all a little voyeuristic and enjoy peeking into someone else’s life.”

9. IN LIVING COLOR DID A HILARIOUS PARODY OF THE SHOW.

In the first sketch during In Living Color's pilot—which aired April 15, 1990—Jim Carrey played Woolery in a Love Connection parody. Robin Givens (played by Kim Coles) went on a date with Mike Tyson (Keenan Ivory Wayans) and ended up marrying him during the date. (As we know from history, the real-life marriage didn’t go so well.) The audience had to vote for three men: Tyson, John Kennedy Jr., and, um, Donald Trump. Tyson won with 41 percent of the vote and Trump came in second with 34 percent.

10. A PSYCHOLOGIST THOUGHT THE SHOW HAD A “MAGICAL HOPEFULNESS” QUALITY.

In 1986, People Magazine interviewed psychologist and teacher Dr. Richard Buck about why people were attracted to Love Connection. “Combine the fantasy of finding the perfect person with the instant gratification of being on TV, and the two are a powerful lure,” he said. “There’s a magical hopefulness to the show.”

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