GuillermoDelToroHere

I am (and I have always been) a weird guy. And my mind doesn't function completely in the real world. I have to have, every day, abstract myself into a language of fable and monsters to try to manage and understand what the world means. I interpret the good and the bad in our lives through monsters and parables that I find help me grasp who we are, or how we can make sense of this life we have. And to compliment that, my office, every morning I leave my family home and I go to my office, which consists largely of 11,000 square feet of books and weird objects of art, and I am constantly inspired by the paintings surrounding me, the objects surrounding me, or the books I have read or read every day. It's fun. And to finalize it, I would say, the final part of this is I think that in order to create movies, you should not solely be inspired by movies. It is important to enrich your storytelling language with every form of storytelling media that resonates with you. It can be a fairy tale, a classic book, or a video game, or a painting in a museum, it makes no difference, as long as it stimulates your storytelling drive.

Well, I laughed out loud in the episode where Charlie vomits blood on his date in the back of a limo, I loved the bums fucking under the pier on the Jersey Shore episode, I loved (sentimentally) the kitten mittens episode, the episode where Charlie becomes a Green Man, and I love the episode where Charlie and Dee befriend a few WASP, superrich siblings, and Charlie rejects the love of the girl for his love of the waitress. But almost infallibly, I actually almost infallibly love every episode of the show, but if I was to recommend one show to somebody that hasn't seen the show, I would recommend they watch the Ponderosa Massacre episode in which I appear under heavy makeup in the character called Poppy McPoyle.

It would be fantastic to do it! I promise that if we don't get to do it for some reason, I will do my best to have Universal allow us to publish the book with all the making of, the behind the scenes art that we generated, because it is staggeringly beautiful. But any Lovecraft movie I could do, I would love - I love many of his tales, so if it's not Mountains, I hopefully can do one day one of his smaller short stories.

I am so glad you mentioned this! Pacific Rim and Crimson Peak now are as close as I've come in my life to creating moving paintings on film. I directed every frame of the computer animation in that movie, art directing them with the same care that I art directed the live-action, in order to create what I was hoping would be a palette that was impossibly vibrant. A saturation of color that I thought would have been much more difficult to obtain in a "real world" movie. And that created the perfect environment for those that embrace the faith to believe again in giant monsters and giant robots.

I normally do a very minute color timing on my movies, I spend many many many months assuring that the movies have the right color - it starts by color-coding every piece of wardrobe, every piece of set design, and then continues by making sure that the light has the hardness or softness and visual design that will support a color palette like that - gelling the lights with the right colors (I started experimenting very boldly on the Troll Market sequence in Hellboy 2) - and eventually taking the resulting frames and then saturating the color in the color correctional suite, ensuring all through the process that the base of these images is a rich, dense, slab of blacks. I find that the vibrancy of the colors, and the density of the black in an image, increase the pictorial beauty of a film.

One of the most thrilling acting performances in the history of the medium!