Quote

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.

Guillermo del Toro

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Guillermo del Toro
Age: 59
Born: 1964
Born: October 9
Film Actor
Film Director
Film Producer
Novelist
Screenwriter
Television Actor
Television Producer
Guadalajara
México
Common
Resistance
Rather
English
Learn
Agree
Comes
Took
Form
Says
Long
Somebody
Something
Word
Mexican
Point
Strongest

More quotes by Guillermo del Toro

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The saddest journey in the world is the one that follows a precise itinerary. Then you're not a traveler. You're a f@@king tourist.
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Genius is the true mystery, and at its edge--the abyss.
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I don't want to move over to Beverly Hills. My goal is to make the movies I want to make and support the people I want to support. That's it.
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I feel that your ambitions should always exceed the budget. That no matter what budget you're doing, you should be dreaming bigger than the budget you have, and then it's a matter of reigning it in to the reality. You try to make things count.
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I try to find inspiration in books, paintings, illustrations and the one thing I try to avoid is just being inspired by other movies, because then you just are talking about movies in movies. I try to talk about movies that are culturally and spiritually a little more diverse.
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Well, the first thing is that I love monsters, I identify with monsters.
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And yet one carries the sins of his forebears as one carries their features in his face. One bears their blood, and their honor or their blight.
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There is beautiful in the grotesque.
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It's the difference between a parable and a pamphlet. A parable discusses things that are relevant in the past, the future, and the present - regardless of the outcome in the present. A pamphlet, on the other hand, is completely concerned with affecting an outcome in the present, the most immediate present.
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We're in three living groups, 'cause even after the world's ended some assholes still can't get along.
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: There are only two on-buttons for fear, in any permutation you want. One is when something that shouldn't be is, meaning a presence. And, the other one is an absence.
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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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When the monster has a dimension that allows you to humanize it, that's the route I usually want to go.
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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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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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The idea for me is that if the movie connects with you the way I want it to connect with you, you should be experiencing both the horror and the wonder as a child would. From a child's point of view. When we're kids, brutality registers differently than when we are adults. Because as adults, we get too used to violence.
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Night is real. Night is not an absence of light, but in fact, it is daytime that is a brief respite from the looming darkness.
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I have a sort of a fetish for insects, clockwork, monsters, dark places, and unborn things
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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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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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