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.
GUILLERMO DEL TOROI love REAL set construction and think that sets are very important part of the storytelling and scope of a film.
More Guillermo del Toro Quotes
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Genius is the true mystery, and at its edge–the abyss.
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I 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.
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You can’t explain success in retrospect. The moment you leap into the void, that moment is impossible to negate, after success.
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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’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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The underground of the city is like what’s underground in people. Beneath the surface, it’s boiling with monsters.
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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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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 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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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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…there’s something about maternal love – it might just be the strongest human spiritual bond there is.
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There’s nothing that defines who you are more than boundaries, whether you cross them or not, in every aspect of your life, and horror is a really great boundary.
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There is beautiful in the grotesque.
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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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There are times when you are in despair, because in order not to betray who you are, you don’t compromise, you don’t make movies that would be very lucrative or prestigious or easily understood. And yet I stay attached to the most uncanny premises. It’s never been easy.
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