I thought the tooth fairy was a very creepy concept as a kid. “Put your tooth under the pillow.” I was like “Why does someone want my teeth?”.
GUILLERMO DEL TOROI am the nice adversary, the guy that’s going to ask the tough questions and is not going to be happy with the quick answer.
More Guillermo del Toro Quotes
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The point of being over 40 is to fulfill the desires you’ve been harboring since you were 7.
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The fairies in the ancient notion of fairies, they are not positive and cute and twinkly.They can be incredibly nasty or they can be incredibly benign. It’s a really interesting mythology when you dig into it.
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There are two levels of vampirism: one is the regular vampire, which is just like it has always been; and then there’s the super vampires, which are a new breed we’ve created.
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I think damage to the eye or damage to the teeth is one of the most universally cringing things you can do in a movie and these are very fragile sounds.
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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 think once a Catholic, always a Catholic. You never escape. I still have Catholic guilt. It is in its basis a really powerful religion and a really strong set of beliefs. They permeate my work in many ways.
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If you don’t take it personally, the partnership between producers and directors is very intimate.
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The underground of the city is like what’s underground in people. Beneath the surface, it’s boiling with monsters.
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You have to believe the magic to see it.
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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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I see horror as part of legitimate film. I don’t see it as an independent genre that has nothing to do with cinema.
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I think making small movies reminds you of the effort. When you make big movies, the effort is to fight for freedom. When you make small movies, the effort is making the day, making the budget, and it’s great, too.
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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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For Devil’s Backbone I loved it but I felt very pressured but so I was neurotic on the shoot.
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You think if you work hard enough, you can fix the precious things you’ve broken – rather than being careful with them in the first place.
GUILLERMO DEL TORO