The finished product stood four stories tall and weighed 20 tons. For the robot cockpit scenes, del Toro had his team build the interior of a full-scale Jaeger head. Most of the film’s special effects were computer-generated, but not everything was digital. As a way of repaying his director, Day helped get del Toro a minor role in the series.
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On the movie set, del Toro often joked about how much he enjoys It’s Always Sunny. That guy should be in my next movie because if he killed rats, he can kill the monster,’” Day recalled during an appearance on Late Night with Jimmy Fallon. Newton Geizler, Pacific Rim’s socially-inept kaiju expert. Impressed by the rat speech, del Toro offered Day the part of Dr. Little did the actor know that the performance would open a big opportunity for him. In “Charlie Kelly: King of the Rats,” the tenth episode of It's Always Sunny in Philadelphia's sixth season, Charlie Day’s character gives us a darkly comedic monologue about rodent extermination. CHARLIE DAY WAS CAST AFTER DEL TORO CAUGHT HIS PERFORMANCE IN AN EPISODE OF IT’S ALWAYS SUNNY IN PHILADELPHIA. “We designed about a hundred Kaijus and about a hundred Jaegers and every week we would do an American Idol and we would vote them out.” 3. “We would get together every day like kids and draw all day,” del Toro told the New York Daily News. Sixteen concept artists were hired to sketch original robot and creature designs for the film.
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A huge fan of monster cinema, del Toro enthusiastically co-wrote the final screenplay with Beacham. Pacific Rim was picked up by Legendary Pictures and handed over to director Guillermo del Toro.
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CONCEPT ARTISTS PUT TOGETHER “ABOUT A HUNDRED” DIFFERENT KAIJU AND JAEGER DESIGNS.
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"That made the monsters scarier because now you care about the people who are in these robots.” 2. “I didn’t know I had something I wanted to write until I realized these robots are driven by two pilots, and what happens when one of those people dies? What happens to the leftovers? Then it became a story about loss, moving on after loss, and dealing with survivor’s guilt," Beacham said. He decided to pursue the concept further after coming up with the idea of human co-pilots who’d need to operate their robot as a team, which added a new thematic dimension. “They just sort of materialized out of the fog, these vast godlike things,” Beacham said. Then he imagined an equally large robot gearing up to fight the beast. As he looked out at the Ferris wheel on the city’s eponymous pier, he pictured a looming sea monster. One foggy day in 2007, Beacham-who’d recently moved to California-was walking along Santa Monica Beach.