As a first-time director, you cannot have final cut. But as a producer, you can have final cut.
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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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 like John Carpenter. I like some of his films more than others
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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 only produce directors and movies that I have a lot in common with.
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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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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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In real life, what scares me is politicians, corporations and people that think they know what the world should be.
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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.
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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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Ghosts are a metaphor that can be interpreted so many different ways. There’s no ending to what you can do. You can make it a fun ghost story. You can make it a deeply disturbing, psychological ghost story.
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What we read and why we do so defines us in a profound way. You are what you read, I suppose. Browsing through someone’s library is like peeking into their DNA.
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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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It’s as hard to explain as a sexual proclivity. Some guys like high-heeled shoes. I like horror.
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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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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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What happens to me is that I am first and foremost a film geek.
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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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If you don’t take it personally, the partnership between producers and directors is very intimate.
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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 think there is a very quiet power in things that are not on screen
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There is beautiful in the grotesque.
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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’m a big fan of the Harry Potter books, but I’d love to do one where one of the kids dies, or one of the main characters dies. I love for those things to have a little bit more tragedy.
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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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