Guillermo del Toro quotes:

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.

I like John Carpenter. I like some of his films more than others

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.

They're getting more and more experience on what to expect, and the Hellboy audience is such a faithful and fanatic audience as I am, and you have to really be very open about what you do

My life is a suitcase. I am the traveling Mexican.

I was part of a group that had a cinema club so every week we would project two or three movies on 16 or 35mm.

Frankfurt, discussing a stuntman: He missed being killed in that shot be literally half an inch.

...to all the monsters in my nursery: May you never leave me alone.

For me, lost causes are the only ones that are worth fighting for. The other stuff is not worth fighting for.

When I was a teenager there was no video in my country. Betamax came to Mexico very slowly

I see horror as part of legitimate film. I don't see it as an independent genre that has nothing to do with cinema.

I always thought what if you took a myth of childhood like the tooth fairy and made it a central scary thing. We did it on Hellboy and we did it on 'Don't be afraid of the dark'.

Imagine, there is almost no possibility for a foreign language film to be distributed in America right now. That doesn't just make the industry poorer, it makes the landscape of cinema poorer, in America. The impossibility to get a good release on a really good European, Latin American, Asian movie is a tragedy.

In that, Blade 2 is very much like a rock concert... if it's too loud, you're too old.

I was an altar boy, a spokesperson for the Virgin Mary, I was a choir boy but then at the age of 14 I discovered masturbation and all that went out the window.

I like actors that are good with pantomime and that can transmit a lot by their presence and attitude more than through their dialogue

For Devil's Backbone I loved it but I felt very pressured but so I was neurotic on the shoot

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.

What happens to me is that I am first and foremost a film geek

If film making is magic, there's a difference between close up magic and David Copperfield. If you're doing close up magic, which independent filmmakers do, it is a very delicate craft, interpersonal relationship, and being able to enrapture a very small audience.

Hellboy is the first movie where both ends of the spectrum are combined

I like actors that are good with pantomime and that can transmit a lot by their presence and attitude more than through their dialogue.

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.

There is beautiful in the grotesque.

...there's something about maternal love - it might just be the strongest human spiritual bond there is.

The fairies in the ancient notion of fairies, they are not positive and cute and twinkly.They can be incredibly nasty or they can be incredibly benign. It's a really interesting mythology when you dig into it.

Science has made many advances in my lifetime, but the instrument has yet to be invented that can see clearly into the marriage of a man and a woman.

It's only in modern times that we have come to glorify vampirism."

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."

...to all the monsters in my nursery: May you never leave me alone."

Miriam Sacher had survived polio as a child. To Abraham, she was simply the most exquisite little bird who could not fly.

I say making movies is like eating a sandwich of shit. Sometimes you get more bread, sometimes less bread, but you always get shit. (Guardian interview 2006)

Something warned me that what I might see would haunt me forever.

Watching a movie for the first time is a flirt. Rewatching it, is a date.

Genius is the true mystery, and at its edge--the abyss.

If you get bored with nothing to do, you are not a writer ... We are in the business of reproducing reality from nothing. We are the biggest liars in the world, seeking truth.

For Devil's Backbone I loved it but I felt very pressured but so I was neurotic on the shoot.

When you see something or experience something extraordinary, you can't go back to normal... I think that that's the way I see the supernatural-as happening in mundane circumstances or to people who are unprepared.

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.

Films are fantastic - they are one of the peaks of human narrative. But I'm sorry to break the news to the movie industry: So is a video game.

I think that The Eye is a particularly Americanized take on horror.

I see horror as part of legitimate film. I don't see it as an independent genre that has nothing to do with the rest of cinema.

I like John Carpenter. I like some of his films more than others.

When I was a teenager there was no video in my country. Betamax came to Mexico very slowly.

It's only in modern times that we have come to glorify vampirism.

Well, the first thing is that I love monsters, I identify with monsters.

What happens to me is that I am first and foremost a film geek.

I started when I was eight, doing super 8 films.

: 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.

America is old tobacco: gold and green. It's lush and literally feels like wealth, like optimism, turn of the century America where everything was blooming.

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.

Any legend, any creature, any symbol we ever stumble on, already exists in a vast cosmic reservoir where archetypes wait. Shapes looming outside our Platonic cave. We naturally believe ourselves clever and wise, so advanced, and those who came before us so naïve and simple"¦when all we truly do is echo the order of the universe, as it guides us"¦

As a child that was disenfranchised from everything, and that was in a world that was the wrong size, run by the wrong people, the wrong morale and the wrong rules, I felt completely outside of that, and I wanted some measure of control, and the measure of control I found was through fear.

As a first-time director, you cannot have final cut. But as a producer, you can have final cut.

At some point, in order to gain his identity, the kid goes "I'm not my dad" or "I'm not my mom."

Awareness of insanity does not make one any less insane. Awareness of drowning does not make one any less of a drowning person--it only adds the burden of panic

Even if one understands that what one is doing is mad, it is indeed still madness -

For eight years I did effects for other movies until I got my movie made

For horror to work, you have to be afraid. You have to keep the monster in a black and white light.

for in the absence of God he had found Man. Man killing man, man helping man, both of them anonymous: the scourge and the blessing.

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.

I believe in man. I believe in mankind, as the worst and the best that has happened to this world.

I believe that the physical effect, the physical set, whenever you can, is ten times better than the digital effect.

I believe, as a producer/director, your duty is to create a beautiful horror film that really resonates.

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.

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.

I had gotten to the point where I just didn't want to perform anymore - I didn't want to be on the chopping block anymore. I started to want to withdraw and retreat from it.

I have a sort of a fetish for insects, clockwork, monsters, dark places, and unborn things

I have my library separate from the family home, and every room is a different genre. The only room that I can guarantee I've read everything is the horror room.

I love REAL set construction and think that sets are very important part of the storytelling and scope of a film...

I love the idea of creating a sort of nuanced portrait of kids that they're not all perfect. They're kind of misfits but not in a picturesque, hip way, they're really, really kids that are not entirely great.

I only produce directors and movies that I have a lot in common with.

I only produce movies that have something stylistically different, so that I can learn from the experience of producing.

I only produce things that have so much in common with what I like. I wanna understand what I'm doing. I wanna understand the instincts that are going to inform the story.

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.

I started when I was eight, doing super 8 films

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.

I think Hollywood has a habit of developing 100 times more than they actually shoot.

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.

I think that during the shoot, you should never be there, unless something goes really wrong and as producer, you're responsible. The sign you did your job right is if you are not there.

I think that in the past, in the '50s and '60s, after the existentialists and beatniks and hippie movements, the big deal was, Don't sell out. We live in a society that by virtue of the speed we communicate and sell, everything sells. The danger is buying in; that your concern becomes success, rather than fulfillment. They're two different beasts, and my feeling is that you should seek fulfillment. You should not measure your worth in how much you have or how popular you are, but how happy you are with what you do.

I think that The Eye is a particularly Americanized take on horror

I think there are movies that are so gigantic that you need a second unit

I think there is a very quiet power in things that are not on screen

I think video games are going to completely take over storytelling in our society. Video games are not a fad...

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.

I think when you get all the money and all the freedom, rarely do you get a good movie out of it or a movie that you're proud of.

I thought the tooth fairy was a very creepy concept as a kid. "Put your tooth under the pillow." I was like "Why does someone want my teeth?".

I would much rather see somebody bring something new to a genre than produce something that seems safe.

If at age 10 I say there are monsters in the basement and they don't believe it, I would have stayed in that house. My father would have said "Shut up and get to your room." So I thought the only sanctioned tyranny in the world is parenthood and everybody goes "Yeah." It's a dictatorship - parenthood.

If you don't take it personally, the partnership between producers and directors is very intimate.

If you get bored with nothing to do, you are not a writer.

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.

If you're not operating on an instinctive level, you're not an artist.... Reason over emotion is bullshit, absolute bullshit... We suffocate ourselves in rules. I find fantasy liberating.

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.

In a world where we are so pragmatic and materialistic, fear is the only emotion that allows even a sophisticated person to believe in something beyond.

In real life, what scares me is politicians, corporations and people that think they know what the world should be.

It's as hard to explain as a sexual proclivity. Some guys like high-heeled shoes. I like horror.

Its a bit cloudy in London but people are already drinking out on the streets- God Bless the pubs.

Movies that look safe are less interesting.

My favorite novel in the world is Frankenstein. I'm going to misquote it horribly, but the monster says, "I have such love in me, more than you can imagine. But, if I cannot provoke it, I will provoke fear."

Never fly commercial. That's the moral of this story.

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"¦

Normally a period movie has a lot of problems with the graphics. They look modern made.

People tend to think that big things only happen to big people ... I think that is not true. The small decisions we make every day define who we are and define the world around us. ... But I bet to you there is a decision every day in your life where you affect somebody else.

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.

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.

Producing is great because you learn.

Screenplay is the toughest form of writing for me, because you need to be in present tense. You need to be describing things as they occur.

Studios look backward. Filmmakers look forward.

Survival often feels like an indignity.

The butterfly does not look back upon its caterpillar self, either fondly or wistfully; it simply flies on.

The only thing you can do as an artist is to come to the world, see what no one is doing, and leave behind one or two things that wouldn't have happened without you.

The point of being over 40 is to fulfill the desires you've been harboring since you were 7.

The reality is that I feel that fear is a very spiritual emotion.

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.

The underground of the city is like what's underground in people. Beneath the surface, it's boiling with monsters.