Guillermo Del Toro Deluxe Blank Journal (Insight Edition Journals) (Insights Deluxe Sketchbooks)

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I turned to a lateral image of the dragon. Smaug’s body, as del Toro had imagined it, was unusually long and thin. The bones of its wings were articulated on the dorsal side, giving the creature a slithery softness across its belly. “It’s a little bit more like a snake,” he said. I thought of his big Russian painting. Del Toro had written that the beast would alight “like a water bird.” The aquarium look that he had spoken of at Lightstorm had clearly become a governing metaphor. “I wanted the whole city to be like an abandoned coral reef,” he said. He showed me an image of a cavernous interior space. Everything was tubular and encrusted with skeletal remains—abandoned tools. “A coral reef is a shitload of skeletons fused together, right? All the technology those creatures have, all their technology is organic. You and I use metals, plastics. These creatures don’t have weapons or chisels. They create other creatures as tools.” Del Toro wanted to be creative with the wing placement. “Dragon design can be broken into essentially two species,” he explained at one point. Most had wings attached to the forelimbs. “The only other variation is the anatomically incorrect variation of the six-appendage creature”—four legs, like a horse, with two additional winged arms. “But there’s no large creature on earth that has six appendages!” He had become frustrated while sketching dragons that followed these schemes. The journal had a discarded prototype. “Now, that’s a dragon you’ve seen before,” he said. “I just added these samurai legs. That doesn’t work for me.”

Silva, Miriam (6 de marzo de 2020). Se filtra el guión de En Las Montañas de la Locura de Guillermo del Toro. Tomatazos . Consultado el 7 de marzo de 2020. Monsters are the patron saints of otherness,” Del Toro said. “When I was a child, I was raised Catholic. Somewhere I didn’t fit with the saints and holy men. I discovered the monsters—in Boris Karloff, I saw a beautiful innocent creature in a state of grace, sacrificed by sins he did not commit. I saw a martyr in the Wolf Man, who is the very moving essence of outsiderness, with which I identified fully. Those monsters did not pretend to be something else, they presented themselves in their essence and in an immediate way. There’s nothing more political than fantasy.” “At Home with Monsters” at LACMA Anne Thompson Guillermo Del Toro departs “The Hobbit”». TheOneRing.net. 31 de mayo de 2010 . Consultado el 31 de mayo de 2010. Nordyke, Kimberly; Lewis, Hilary (8 de febrero de 2022). «Oscars: Full List of Nominations». The Hollywood Reporter . Consultado el 8 de febrero de 2022.

Guillermo del Toro gana el Globo de Oro a Mejor Película Animada por “Pinocho”». www.proceso.com.mx . Consultado el 11 de enero de 2023. Guillermo del Toro: At Home with Monsters: Inside His Films, Notebooks, and Collections (2016), ilustrada por Guy Davis.

Illustrated with stunning visuals, this deluxe volume follows the remarkable creative journey that brought Pinocchio to the screen, from del Toro’s early ideas for the adaptation, through to character design, puppet building, and the meticulous animation process,” reads a press release. “Featuring interviews with del Toro and a wide range of the film’s key creatives, this is the definitive story behind the birth of a brand-new Pinocchio.” There too, in the Barker’s journaling notations, creative conceptions culminate in production, storytelling and stretching the realizations of the visioning. Barker’s tapestry, as a writer and illustrator, is extraordinarily broad reaching. Ehrlich, David (8 de enero de 2018). «‘Three Billboards Outside Ebbing, Missouri’ Writer Martin McDonagh Wins Golden Globe for Best Screenplay». Indie Wire . Consultado el 8 de enero de 2018. Guillermo del Toro's The Shape of Water wins Venice Golden Lion». The Guardian (Guardian Media Group) . Consultado el 9 de septiembre de 2017. Dude,” del Toro said, laughing. “It’s like a botched circumcision!” He told Konig that he was banning phallic imagery—the most obvious sign that an alien was designed by a nerdy Homo sapiens.Closing the notebook, del Toro spoke about his struggles with his weight. His pants size was down from its peak, size 62, but he was concerned about the physical challenges of shooting on location in New Zealand. He worried that his next few films might be his last. Maybe it was time to resist temptation. Looking at the plate of uneaten ribs, he joked, “I’m not just Hellboy—I’m the Pale Man, too.” Guillermo del Toro is a creative mastermind: he has directed films like "Pan's Labyrinth", "Hellboy", and "Pacific Rim". He is also co-author of "The Strain", a series of best-selling novels which have been adapted into a television show. It's well known among his fans that del Toro often carries a notebook so that he can write down or sketch out any ideas that come to him (sometimes this will later inspire a character design or a line of dialogue in one of his films). La adaptación de ‘En las montañas de la locura’ a manos de Guillermo del Toro no está muerta. Cinemanía. 2 de diciembre de 2021 . Consultado el 18 de enero de 2022. The dark, sensual fairy tale “Pan’s Labyrinth” (2006), del Toro’s most heralded film, is not what is typically conjured by the phrase “monster movie.” As is often the case in del Toro’s work, the worst monsters are human beings. In the violent aftermath of the Spanish Civil War, a defiantly imaginative girl, Ofelia, recoils from her harsh life—her stepfather is a Fascist captain who tortures dissidents—and descends into a ravishing underworld of sprites and satyrs. Though she barely evades the jaws of a famished ogre, she ultimately finds comfort in this spectral realm. For del Toro, who jokes that he “never willingly goes outside,” fantasy, even violent fantasy, is a refuge. The story of Ofelia inverts the usual scheme of horror; it’s as if one of the teens in “A Nightmare on Elm Street” had fought to remain trapped inside the world of dreams. A por los dólares de la Tierra Media». El País. 12 de febrero de 2008 . Consultado el 17 de junio de 2008.

El 22 de julio de 2010 se anunció en la Convención Internacional de Cómics de San Diego que estaba en desarrolló un nuevo filme basado en la atracción de Disneylandia The haunted mansion, con Guillermo del Toro involucrado en la escritura del guion y en su producción para Disney. El 7 de agosto de 2012, el realizador declaró al sitio Collider que coescribiría el guion pero que no dirigiría la película. [24 ]​ At the Mountains of Madness . Guillermo del Toro & Matthew Robbins. 6 de marzo de 2020 . Consultado el 7 de marzo de 2020. Se caracteriza por imprimir una estética y ambientación espectaculares a sus películas, creando ambientes tétricos y agobiantes o situaciones mágicas y fantásticas. Su estilo está marcado por su gusto por la biología y por la escuela de arte simbolista, su fascinación por el mundo fantástico desde el punto de vista de los cuentos de hadas y su gusto por los temas oscuros. Sus trabajos incluyen frecuentemente monstruos o seres fantásticos. Del Toro siempre ha afirmado estar enamorado de los monstruos: «mi fascinación hacia ellos es casi antropológica... los estudio, los disecciono en algunas de mis películas: quiero saber cómo funcionan, qué aspecto tienen por dentro y cómo se comportan». También tiene una lista de otras cosas que le fascinan y que se han convertido en piezas habituales de sus películas: «tengo una especie de fetichismo por los insectos, la relojería, la maquinaria y los engranajes, monstruos, lugares oscuros, cosas sin nacer...» Vicente, Álex (9 de septiembre de 2017). «‘La forma del agua’, de Guillermo del Toro, gana el León de Oro del festival de Venecia». El País . Consultado el 9 de septiembre de 2017.

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We headed upstairs, del Toro adopting the hushed garrulity of a docent. The walls were crowded with framed images, as at the Barnes Foundation, except in this case the collection featured Edward Gorey illustrations, concept-art sketches of the demon from “Fantasia” (“I’m an obsessive Disney-villain guy”), and comic-book panels, including a Richard Corben drawing of a mutant with four breasts. Del Toro himself still drew. “I cannot learn technique from Caravaggio and those guys—how they did it, I have no idea,” he said. “That’s why I started collecting original illustrations. I wanted to see the brushstroke or the Wite-Out. Then I could understand how they did it.” Estuvo involucrado con Pacific Rim: Uprising, producida por Universal Pictures y Legendary Pictures, estrenada el 23 de marzo de 2018. Even the major characters of “The Hobbit” bore del Toro’s watermark. In one sketch, the dwarf Thorin, depicted in battle, wore a surreal helmet that appeared to be sprouting antlers. “They’re thorns—his name is Thorin, after all,” he said. The flourish reminded me of a similar arboreal creature in “Hellboy II,” which was slightly worrying. That film is so overpopulated with monsters that it begins to feel like a Halloween party overrun by crashers. Midway through the film, del Toro stages a delightful but extraneous action sequence in a creature-clogged “troll market” hidden beneath the Brooklyn Bridge. The scene comes across as del Toro’s bid to supplant the famous Cantina scene in “Star Wars.” También en 2010 el cineasta fue cuestionado acerca de la realización de un tercer fime de Hellboy pero él mismo desestimó cualquier posibilidad. Sin embargo, en julio de 2012, ante los rumores durante la Comic-Con de que se haría Hellboy III, reveló a Entertainment Weekly: «puedo decir públicamente que estamos juntos tratando de hacerla». En 2013, a través de las redes sociales, el actor Ron Perlman instó a los seguidores de la saga a mostrar su apoyo al proyecto con el fin de que Columbia y Universal confiaran en que era una inversión rentable ante los temores por su recuperación financiera dado el enorme presupuesto que requería su filmación y el hecho de que las ganancias de las películas anteriores residieron en las ventas para formatos caseros. Finalmente, en julio de 2014 Del Toro sentenció: «No vislumbramos esa película en el horizonte, pero la idea consistía en que Hellboy finalmente se percatara que su destino, su inevitable destino, era convertirse en la bestia del Apocalipsis y que él y Liz encararan esa parte de su naturaleza. Él tenía que hacerlo, irónicamente, con el objetivo de ser capaz de derrotar al adversario que tendría que encarar en la tercera película. Debe convertirse en la bestia del Apocalipsis para ser capaz de proteger a la humanidad, pero al mismo tiempo se convierte en un ser mucho más obscuro. Es un final muy interesante a la serie, pero no creo que suceda». [26 ]​