Top 200 Guillermo del Toro Quotes (2025 Update)
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151. “And I really loved sculpting. My brother and I would do full human figures with clay and Plasticine – liver, intestines, the heart – fill them with ketchup and throw them from the roof. So I was an artistic but very morbid kid.”

— Guillermo del Toro

152. “Cars get girl names. Guns get guy names. What do knives get?”

— Guillermo del Toro

153. “When you work with a great director, you can have a great partnership.”

— Guillermo del Toro

154. “So I have 8 to 10 screenplays written and unproduced. And frankly, some of them are my favorite stories. I have a Western version of The Count Of Monte Cristo where the count has a clockwork hand. I have a screenplay called Mephisto’s Bridge about a Faustian deal with the devil. I love them all.”

— Guillermo del Toro

155. “There are two types of producing deals, and I’ve had both. I’ve produced over 20 movies now. You are either watching in horror, as the cars take the curve in the grand prix, or you’re enjoying it.”

— Guillermo del Toro

156. “For eight years I did effects for other movies until I got my movie made.”

— Guillermo del Toro

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

— Guillermo del Toro

158. “Eph too had been turned. Not from human to vampire, but from healer to slayer.”

— Guillermo del Toro

159. “People who have lived their whole lives feeling half-complete. Who never truly fit anywhere in the world. Who never understood why they were here, or what they were meant for. Who never answered the call, because they never heard it. Because nothing ever spoke to them.”

— Guillermo del Toro

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

— Guillermo del Toro

161. “I guess a vampire doesn’t have much need for good hygiene.”

— Guillermo del Toro

162. “I think there are movies that are so gigantic that you need a second unit.”

— Guillermo del Toro

163. “There are a lot of period movies where they say, ‘This is a portrait of Lady Whatever.’ And it’s done in like a 1950s or 60s style.”

— Guillermo del Toro

164. “The doctor’s code is, ‘First – do no harm.’ The politician’s code is, ‘First – go on television.”

— Guillermo del Toro

165. “In you, we have given this world a great gift – and of that, I have no doubt.”

— Guillermo del Toro

166. “It’s important for little girls to know not every story has to be a love story and for boys to know that soldiers aren’t the only ones to triumph in war.”

— Guillermo del Toro

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

— Guillermo del Toro

168. “The way I see film is I think film is like going out to dinner. I feel it’s a banquet. You don’t want to have the same food you have at home. You want to go and eat a fantastic Chinese meal or Italian or Greek.”

— Guillermo del Toro

169. “At some point, in order to gain his identity, the kid goes “I’m not my dad” or “I’m not my mom.””

— Guillermo del Toro

170. “Sometimes even the healers are turned into butchers by the darkness of this world.”

— Guillermo del Toro

171. “By God, Giles thinks, it’s true: They are not so different from each other. Giles might still, under the right light, bathed in the right water, be beautiful, too.”

— Guillermo del Toro

172. “Carmen Cardoso believed the most dangerous tale of all: the one of the prince who would save her.”

— Guillermo del Toro

173. “Looking back on one’s life, you see that love was the answer to everything. I love you, Nora. I always will. And that we will have forever.”

— Guillermo del Toro

174. “When you shoot in America, you have huge beams of sunlight in the windows, very vivid sunlight – it’s faster in a way.”

— Guillermo del Toro

175. “But what is intelligence? Is intelligence calculations and computations? Or must true intelligence contain a moral component? Each passing minute, I believe more that this is the case.”

— Guillermo del Toro

176. “I feel as if a link exists between your heart and mine, and should that link be broken, either by distance or by time, then my heart would cease to beat and I would die.”

— Guillermo del Toro

177. “We feel immortal when we are young. Or maybe we just don’t care that much about death yet?”

— Guillermo del Toro

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

— Guillermo del Toro

179. “But all things lost can be found again, the trees whispered.”

— Guillermo del Toro

180. “When she finally wrapped her arms around the girl, the softness stirring in her heart frightened her. It was dangerous to be soft in this world.”

— Guillermo del Toro

181. “The room smelled milky, of vanilla and almond, from the breakdown of chemical compounds in the old paper.”

— Guillermo del Toro

182. “Sometimes we need to see what we feel so we can know about it.”

— Guillermo del Toro

183. “Sometimes the objects we hold dear give away who we are even more than the people we love. The glass of the watch had cracked in the hand of Vidal’s father at the very moment he died, which his son took as proof that things could survive death if only one kept them clean and in perfect order.”

— Guillermo del Toro

184. “Em nossas escolhas encontra-se o nosso destino.”

— Guillermo del Toro

185. “Since childhood, I’ve been faithful to monsters. I have been saved and absolved by them, because monsters, I believe, are patron saints of our blissful imperfection, and they allow and embody the possibility of failing.”

— Guillermo del Toro

186. “If past wrongs are not addressed, and dealt with honestly, dark spirits will erupt through the unhealed seam. It is the same for cities and towns as it is for people.”

— Guillermo del Toro

187. “But the dream eludes wakeful pursuit; it always does.”

— Guillermo del Toro

188. “Part of getting old is checking oneself constantly. Keeping a good firm grip on the handrail. Making sure you’re still you.”

— Guillermo del Toro

189. “Evil seldom takes shape immediately. It is often little more than a whisper at first. A glance. A betrayal. But then it grows and takes root, still invisible, unnoticed. Only fairy tales give evil a proper shape.”

— Guillermo del Toro

190. “So much cruelty. She’d seen too much of it in this place. Sometimes she wondered whether it covered her heart like mold by now.”

— Guillermo del Toro

191. “The world changes, or doesn’t. You fight for the right things and be glad you did.”

— Guillermo del Toro

192. “But I think it is a hopeful story. Is not some underwater paradise preferable to a life of poverty and incest and violence?”

— Guillermo del Toro

193. “So why do we still insist on believing we are somehow something more than animals?”

— Guillermo del Toro

194. “The entry wound cried a single tear of blood. Such an insignificant wound, but Death was nesting in it.”

— Guillermo del Toro

195. “As a kid, I dreamed of having a house with secret passages and a room where it rained 24 hours a day.”

— Guillermo del Toro

196. “We are all insane to one degree or another, and the most functional of us merely hides it the best.”

— Guillermo del Toro

197. “Elisa nuzzles into the phrase, explores it, finds it familiar, almost cozy.”

— Guillermo del Toro

198. “Like most of the well-intentioned privileged Elisa has met, he has no grasp of the priorities of the servile, how all they want is to get through a shift without trouble.”

— Guillermo del Toro

199. “The egg, at last, is revealed, and what is more coherent and elemental than an egg?”

— Guillermo del Toro

200. “The tenuous but precise way in which Le Fanu builds up the supernatural elements is akin to the pervasive effects of mildew on a solid wall. It is not by force but by accumulation that he demolishes disbelief and tears down the barrier that separates us from fear.”

— Guillermo del Toro