Guillermo del Toro Quotes

As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.

My dad always produces, and I would always sit in producers' meetings with him. I like the whole thing of putting a movie together. I think that's very exciting.

I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.

I'm developing some screenplays at the moment with my Australian producer.

But it's true, it's nothing new that decisions about what movies are to be made, and how they're to be made, and who's to be hired to do what, and whether you hire somebody to do their job, or whether you hire somebody to fill a position and you tell them what to do.

When you're struggling to get a feature film off the ground, there's no big overarching tenure plan or anything like that.

With movies, it always feels like such a long shot getting it made.

I love all kinds of stories and movies, and I did work hard to get through to the creative community and studio executives that I could work in a number of different genres and tones.

When you're pitching movies, sometimes you know what the idea is, but you fully don't know the dimensions of it.

If you are still thinking about a script after five or ten years, that's a sign that it's good - not that it's stale. And the opposite is true - if everyone wants to make your movie, that's a sign that it probably sucks.

In the life of a director - these days in particular - when it really does take so long to do a movie, with a few exceptions, actors may never work with a director again, even if they're great friends.

After you shoot a day's work, you gotta see rushes, and then you have more meetings with the budgets, with your producers, with your designers. It's never-ending.

It's really hard to sell a script, and it's even harder to get a movie made. It just almost never happens.

There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.

It's hard. It's hard to get a film made properly.

There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.

I was reading scripts, doing coverage, for CAA. Reading hundreds and hundreds of scripts across the board, from blind submissions to 'Brokeback Mountain'. It was not always a pleasant task but something, in hindsight, I'm glad I did.

Making movies seemed so impossible as far as getting my ideas funded.

I think people really don't understand what a producer does versus what a director does. I mean, the producer is often the person that is on the movie the longest - it's their material that they are then bringing the director onto to bring it to the screen. Are we overlooked? Absolutely.

You never know where your next movie is going to come from. You just have to fall in love with something because it's going to be taking up every moment of spare time in your life for about two years. You're going to be dreaming about it and thinking about it and becoming obsessed with it.

A producer friend of mine from film school had read some of my early screenplays - some experiments I had done to see how fast I could write something.

First hand on 'Go Goa Gone' I learnt how to write on final drafts, how the process works.

Yashraj liked my writing style, and they had a concept in mind, so they hired me to write. That's how 'Luv Ka The End' was born. It was fantastic working with them. They are very professional. For the first time, I did not have to ask for my cheque. It was sent home, in time.

I would love to make a kids' movie. But they are very hard to make.

Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.