Del

‌Diego Simeone’s side reach ⁠Copa ⁠del Rey final for the first time since 2013 with 4-3 aggregate semifinal victory.

Atletico Madrid struggled through a 3-0 Copa del Rey semifinal second leg defeat at Barcelona, but scraped into the final 4-3 on aggregate.

The Spanish champions almost produced a comeback for the ages on Tuesday after their 4-0 first-leg defeat in early February, but fell just short at Camp Nou.

Eighteen-year-old Marc Bernal netted twice for the record 32-time winners, and Raphinha scored a penalty, as Barcelona tried in vain to claw back the lead for Diego Simeone’s side.

Atletico, who clung on desperately in the final stages, returned to the final for the first time since 2013.

They will face Real Sociedad or Athletic Bilbao, who meet on Wednesday in the second semifinal leg.

Barcelona came out flying, and Fermin Lopez’s long-range effort just over the bar set the tone, as Hansi Flick’s side threw everything they had at a potential comeback.

They were dealt an early setback when Jules Kounde went off injured in the opening stages. Antoine Griezmann came close against his former side, as Atletico threatened on the counterattack.

Ferran Torres fired wide and had a shot saved low at the near post by Atletico goalkeeper Juan Musso before Barcelona took the lead.

Teenage player Lamine Yamal drilled across the face of the goal for Bernal to finish from close range, with one 18-year-old setting up another.

Ademola Lookman headed narrowly off-target for Atletico and came to rue the miss as Barca doubled their advantage before the interval.

Spain midfielder Pedri was tripped in the box by Marc Pubill, and Raphinha sent Musso the wrong way from the spot.

Joao Cancelo almost grabbed the third, but his shot was beaten away by Musso at full stretch, with Diego Simeone’s team on the ropes.

Bernal set up a frantic finale when he volleyed home Cancelo’s swirling cross to take Barca within one goal of the crumbling Rojiblancos.

Flick put centre-back Ronald Araujo up front for the final stages, in search of a fourth goal to “make the impossible possible”, as he called on his team to do before the game.

Gerard Martin hammered narrowly over the bar as Barca turned the screw, with fans roaring the team on through six minutes of stoppage time.

The Rojiblancos fended off Barca and booked their place in the Seville final on April 18.

Musso said getting through to the final was the most important thing.

“Barcelona are one of the best teams in the world, but we got through,” he said after the game.

“We are going to the final; we will give our everything, and get the Copa del Rey.”

Meanwhile, Raphinha said he was proud of his teammates, even if they just fell short.

“The fans could see we gave everything we had. You have to understand, we were up against a side who were defending [well] and doing what they needed to do… We did everything possible, but lacked a little bit,” he said.

“What happened today is in the past. We wanted to get in the final, but it happens … For now, we will go for the La Liga and Champions League [titles].”

Vital organs of the same cinematic body, the artists who handcrafted Guillermo del Toro’s imposing “Frankenstein” helped ensure the experience of watching it feels immersive.

“When a movie is the best possible incarnation of itself, it’s a universe you fall into; as the youth says, it’s a vibe,” Del Toro says during an interview at the Sundance Film Festival in Park City, Utah, where he was in attendance to screen a restoration of his 1992 feature debut, “Cronos.”

Like Victor Frankenstein, who diligently selects body parts from corpses to stitch together his humanoid creation, the Mexican director carefully assembled his troupe of movie magicians. Of course, their talents mattered immensely to him, but so did their drive and their willingness to participate in the “team sport” of filmmaking.

“The cohesive personality of the film, the expressiveness of the film, depends on every aspect being orchestrated without an ego,” Del Toro says. “Each department sustains the department next to them.”

Del Toro clearly knows how to pick them. The Envelope recently caught up with makeup effects veteran Mike Hill, seasoned production designer Tamara Deverell, costume virtuosa Kate Hawley and acclaimed composer Alexandre Desplat, all Oscar-nominated for their work on “Frankenstein.”

And just like organs that constantly communicate with each other, their work is intimately intertwined. Nothing is conceived in isolation on a Del Toro film. “We all know what everyone’s doing within the different departments, so we all echo each other,” says Hawley.

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1. Tamara Deverell. 2. Kate Hawley. (Lauren Fleishman / For The Times)

In casting his acolytes, Del Toro seeks the alchemy that only human minds and hands can accomplish building tangible worlds. “The audience knows when something is digital, and when something has been crafted with real materials,” Del Toro explains. “I really believe people can tell the difference. Maybe they can’t articulate it, but they can feel it.”

Hill agrees. His mandate to create the prosthetics and makeup that transformed Jacob Elordi into the Creature aimed to make him look like an artwork that Victor Frankenstein handcrafted. Every part of him was by design, with the scars on his body reflecting incisions that those studying human anatomy in the 18th century would have made.

“If the monster felt fake, we would’ve lost the movie,” says Hill. “The Creature had to feel real. Not to put down VFX, but there’s a human quality they can’t catch.”

For Deverell, “Frankenstein” represented both the continuation of a creative partnership that dates back to the 1990s and an opportunity to showcase her multi-faceted skills. “Guillermo and I speak in a language of art history, and he is steeped in cinematic history,” she says.

With a team of technicians and craftspeople, Deverell constructed breathtaking sets, including Victor’s laboratory with giant batteries that required intricate steam and lighting mechanisms.

Undoubtedly, her pièce de resistance is the full-size Arctic ship where the opening sequence unfolds. Though the production considered existing vessels, none of them measured up. “There were specific action beats that Guillermo wanted, and a look that we all wanted,” she says. “To have complete creative control, there’s only one way to do it.”

To anyone who disagreed with the need for a ship, Del Toro would explain that it was not an extravagance. “It’s actually what tells the audience the scale of the movie,” he says.

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1. Alexandre Desplat. 2. Mike Hill. (Lauren Fleishman / For The Times)

The first half hour of the film, Del Toro believes, establishes its ambition and operatic quality. There are no digital doubles in that sequence, but real stunt performers aboard a ship that’s not a miniature but a massive structure that moves thanks to a giant gimbal.

It’s the way Del Toro pursues ideas by way of collaboration that brings Hawley back to his worlds (she even worked with him on his unmade version of “The Hobbit”). She’s learned to conceive her pieces considering that in his movies real water, mud, snow and fake blood might be in play.

“There’s something that happens with real materiality, real construction, there’s an alchemy to it,” Hawley says. “What a fabric does and performs is not always predictable, but the outcome and the potential you see in something then becomes the magic.”

As production timelines get shorter and A.I. utilization creeps into the filmmaking process, Hawley believes artists are trying to hold onto the craft as much as possible. “We came here to build worlds,” she says. “That’s what we did as kids. That’s what we do. This is our church.”

Del Toro admits he can be a “pain in the ass,” especially when dealing with his film’s production design and makeup effects. He atones by constantly reassuring his artisans. “They need to know that even if you are torturing them you admire them,” he says.

The only element of the film where Del Toro actively hopes to be surprised is the score. And Desplat is committed to delivering.

“Writing music is using your imagination. It’s not using references. It makes no sense to me,” says Desplat, who believes most scores today sound like work that has come before. “I hear many composers use references, but what for? That’s not what we do. We have the film to be inspired by. That’s enough.”

For “Frankenstein” — his third creature movie with Del Toro, after “The Shape of Water” and “Pinocchio” — Desplat thus avoided Gothic compositions to create a counterpoint to the images, highlighting the fragility of Elordi’s Creature, who he thinks of as the core of the film.

Also tying together the film’s craftsmanship is Del Toro’s awards campaign for “Frankenstein,” which he’s navigated to the tune of “F— AI.” The chant has resonated with those fighting to keep art made by humans for humans. “Frankenstein,” in turn, is the director’s latest monument to the beauty of imperfection.

“Art is the thing that we should never let go of, never surrender to mechanization or artificial intelligence,” Del Toro adds. “We need to grasp on it because this is the last point of contact between humans.”

Brandon Granger, a 5-foot-10 junior guard at St. Bernard, has burst onto the scene with much to celebrate.

He’s averaging 25 points a game and led St. Bernard (17-11) to the Del Rey League championship earlier this week with an 80-65 win over St. Paul in which he scored 28 points.

Jordan Ballard, a transfer from Westchester, has also played a big role for the Vikings, who won the league title in the second year as head coach of alumnus Bernard McCrumby, who came from Gardena Serra.

The league is always competitive. St. Monica finished second, St. Anthony third, St. Pius X-St. Matthias fourth and St. Paul fifth.

McCrumby took over the program with the promise to renew the Vikings’ success. St. Bernard will find out its spot in the Southern Section playoffs when pairings are released on Saturday at noon.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.