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 TOROYou 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.
More Guillermo del Toro Quotes
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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 think part of making movies is dealing with restrictions of freedom and budget. I’d rather deal with restrictions of budget. It’s better to feel free within any budget.
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When somebody says something I don’t agree with, I say I’d rather not. It comes to the point where that is the strongest form of resistance. As a Mexican, it took me a long while to learn one word in English, “no”. And that is the one word we have in common.
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I like John Carpenter. I like some of his films more than others
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There is beautiful in the grotesque.
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If you don’t take it personally, the partnership between producers and directors is very intimate.
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Movies that look safe are less interesting.
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I only produce movies that have something stylistically different, so that I can learn from the experience of producing.
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In real life, what scares me is politicians, corporations and people that think they know what the world should be.
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I would much rather see somebody bring something new to a genre than produce something that seems safe.
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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 love REAL set construction and think that sets are very important part of the storytelling and scope of a film.
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When I stage a violent scene, I try for it to serve a purpose. I do love those things, the makeup effects. But I love them more with the monsters. I never was much of a gore guy. I’ve always enjoyed just creating monsters.
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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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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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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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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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But I think we are seeing a resurgence of the graphic ghost story like The Others, Devil’s Backbone and The Sixth Sense. It is a return to more gothic atmospheric ghost storytelling.
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Genius is the true mystery, and at its edge–the abyss.
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If you’re doing a big spectacle film, you’ve got to be mindful of large masses. Even then, you’ve got to be responsible only to your storytelling.
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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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Its a bit cloudy in London but people are already drinking out on the streets- God Bless the pubs.
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You can always go back to not making any money, and then you get the freedom. And I’m going to continue doing it, because it really is a fantastic sense of liberation.
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I think there is a very quiet power in things that are not on screen
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…there’s something about maternal love – it might just be the strongest human spiritual bond there is.
GUILLERMO DEL TORO