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.
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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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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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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For Devil’s Backbone I loved it but I felt very pressured but so I was neurotic on the shoot.
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People think you’re like The Godfather, waiting for scripts to come in. But, you’re hustling, you’re desperate, you’re panicked and you’re horrified. The movie you think you’re going to do next, you don’t do. The movie you think you’re never going to do, you make.
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I think when the joke comes from the situation in a horror film, it’s really great. I don’t like jokey horror films like where people are cracking a joke or being post-modern about it.
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Somebody said to me, in a very well-meaning way, at a screening, “We love the movie but it’s too violent. If you tone down the violence you could reach a great audience of kids.”.
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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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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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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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If you don’t take it personally, the partnership between producers and directors is very intimate.
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I like John Carpenter. I like some of his films more than others
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I’m a movement Nazi. It used to be my way before. Now, in the last three projects. I found a way to let the actors find their comfort and still find the precision in the show. It’s a change in me.
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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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You give yourself to the world for people to either praise or destroy.
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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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