Twenty years ago, Guillermo del Toro premiered "Pan's Labyrinth" at the Cannes Film Festival. He went in anxious. It was toward the end of the festival and many journalists had left. The movie's production had been a nightmare. Then the audience gave it a 22-minute standing ovation, the longest in Cannes history. "It's a commute," joked del Toro. "That's about what it takes me to get from home to the office. Alfonso Cuaron, who made this movie with me as producer, turned to me at some point and said, 'Let it in. Relax.' I was very tense. I'm not very good with praise." Del Toro returned to Cannes on Tuesday to screen a restoration of one of his most beloved films. Shortly beforehand, he met a reporter for an interview at a hotel on the Croisette, a few steps away from where his filmmaking life changed two decades ago. A lush fairy tale set against 1944 Francoist Spain, "Pan's Labyrinth" is about the young Ofelia (Ivana Baquero) who has come with her mother to stay with her new fascist stepfather, Captain Vidal (Sergi López). Taking place largely in the northern Spain, it's Del Toro at his earthiest and most imaginative. Books become alive when held. Doors manifest out of a chalk outline. And creatures — fairies, a faun, the unforgettable Pale Man, with eyes in the palms of his hands — reveal a world of deeper and darker enchantment. A pivot point for del Toro Del Toro, who has since made "The Shape of Water" and "Frankenstein," grants that he wouldn't have become the filmmaker he is today if he hadn't made "Pan's Labyrinth." At the time, he was the well-regarded but not well-known filmmaker of "Hellboy" and "Blade 2." "I was getting all the Marvel offers from Avi Arad. It was a real choice to go make the movie no one wanted... Read More