Guillermo del Toro Quotes
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If you get bored with nothing to do, you are not a writer.
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I like actors that are good with pantomime and that can transmit a lot by their presence and attitude more than through their dialogue
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I think that during the shoot, you should never be there, unless something goes really wrong and as producer, you're responsible. The sign you did your job right is if you are not there.
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I'm the freaky version of that superhero who says, wherever there is injustice, I shall be there. Whenever there is a difficult project, I'd like to be there.
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Power revealed is power sacrificed. The truly powerful exert their influence in ways unseen, unfelt. Some would say that a thing visible is a thing vulnerable.
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You can only be a good father in relationship to your childhood.
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Normally a period movie has a lot of problems with the graphics. They look modern made.
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If you're not operating on an instinctive level, you're not an artist.... Reason over emotion is bullshit, absolute bullshit... We suffocate ourselves in rules. I find fantasy liberating.
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When you work with a great director, you can have a great partnership.
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When you shoot in America, you have huge beams of sunlight in the windows, very vivid sunlight - it's faster in a way.
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For horror to work, you have to be afraid. You have to keep the monster in a black and white light.
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I believe in man. I believe in mankind, as the worst and the best that has happened to this world.
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I love the idea of creating a sort of nuanced portrait of kids that they're not all perfect. They're kind of misfits but not in a picturesque, hip way, they're really, really kids that are not entirely great.
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I only produce things that have so much in common with what I like. I wanna understand what I'm doing. I wanna understand the instincts that are going to inform the story.
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I think Hollywood has a habit of developing 100 times more than they actually shoot.
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It’s as hard to explain as a sexual proclivity. Some guys like high-heeled shoes. I like horror.
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There are a lot of period movies where they say, 'This is a portrait of Lady Whatever.' And it's done in like a 1950s or 60s style.
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I believe that pain can be a rite of passage into learning. I believe that the worse thing that can happen is the sin of banality and comfort. Those things are in my movies, but also my movies are quite the fruit of somebody who defines himself as an agnostic.
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The idea for me is that if the movie connects with you the way I want it to connect with you, you should be experiencing both the horror and the wonder as a child would. From a child's point of view. When we're kids, brutality registers differently than when we are adults. Because as adults, we get too used to violence.
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I always thought what if you took a myth of childhood like the tooth fairy and made it a central scary thing. We did it on Hellboy and we did it on 'Don't be afraid of the dark'.
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I really wanted the house to be a character. And I knew, I said, I'll produce that one, but if I direct it, I need to build a house.
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I only produce directors and movies that I have a lot in common with.
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The other thing that I started doing for myself was, I went through my diary of ideas that I keep and made sure that the translation of the comic to the movie was good.
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We're in three living groups, 'cause even after the world's ended some assholes still can't get along.
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You live and die two or three times making a movie. First, you write it, and the first pivotal moment comes when you can get it made. The second is in the process of making it, when the movie reveals itself to you, its flaws and its virtues. Then the most unnerving moment is when that movie is then launched into the world. It’s like bringing your kid to the first day at school and somebody points out that it has bowlegs, it is cross-eyed, or it’s gorgeous. You feel very exposed.
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I feel that we have, as Mexicans, two things: one, a natural distrust of institutions. I hate organised religion, I hate organised politics, I hate the idea of the military and the police. Because we grew up distrusting all these sacred institutions, the only thing you have left is a vague, national sense of impending doom. Why do we drink and how are we so merry? Because we know that pretty soon, our time's up. There is a sense of fatality that makes us pretty chirpy people. You try to live. The only reason that dying is important is that it gives life sense.
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Movies that look safe are less interesting.
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I try to find inspiration in books, paintings, illustrations and the one thing I try to avoid is just being inspired by other movies, because then you just are talking about movies in movies. I try to talk about movies that are culturally and spiritually a little more diverse.
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For Devil's Backbone I loved it but I felt very pressured but so I was neurotic on the shoot.
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I love monsters. If I go to a church, I'm more interested in the gargoyles than the saints. I really don't care much about the idea of normal - that's very abstract to me. I think that perfection is practically unattainable but imperfection is right at hand. So that's why I love monsters: because they represent a side of us we should actually embrace and celebrate.
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