Guillermo del Toro Quotes

All my films have been larger-than-life. And since I've sat on almost all the scripts of the films I've produced, I do not compromise on aesthetics and visuals that could add to a scene.

I worked for UFA as a set designer, you know.

I'm still really into set design and construction when I do films. I notice that stuff.

Among the great glories of the MGM lot were the vast outdoor sets that had been constructed over the years.

I have never been sorry to see my sets being struck, provided they are well photographed. They're not works of art but part of making a film.

My wife Victoria Harwood was art director on 'Far North,' and she had designed my student film, 'The Sheep Thief.'

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.

I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.

Directing is more what I would like to get into eventually. Frankly, I feel like it would be a waste if I didn't because I've spent so much time on film sets, and I know how they work, and I love them, and I love leading them. I would like to do that as a director definitely.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

Visual elements are, of course, the director's job.

There's no set like a Ryan Murphy set, mainly because it feels like he's built an entire world. He's so thoughtful and meticulous, and every detail is thought about and cared for.

My job is to kind of nudge them. Who said it, where, like, '90% of the job is casting,' so all I do is try to come to set and focus on getting all the best shots to cover the story; that's really it.

Directing films is easier said than done. The job needs a lot of sensibility to put many things in place.

In every Kubrick movie, there is so much great thought put into the surroundings. It's almost like the sets are huge characters in the movie at all times.

Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.

I got Greg Aronowitz, who does [ Felicia Day] sets, to do mine as well, and he's just amazing. He can work miracles with nothing.

I think I'll try to keep working in film for a little bit. There's something still kind of magical about it, that I don't want to let go of.

My god is narrative filmmaking.

But having a really good understanding of history, literature, psychology, sciences - is very, very important to actually being able to make movies.

A director can come from anywhere, but having a story background, if you have nothing else, is probably a good thing to have because it's really the one tool you need.

I learned very quickly that the hard thing in life is to make good films. Technically, filmmaking is the camera and the actor telling the story and that's what I'm more interested in doing.

I think that era of mechanically figuring out of how to bring a particular evocative image to the screen was a really important part of my education.

Nobody goes to a movie and watches the script. There is a lot of other stuff going on.