The Monsters of Hellboy II (2008), coescrita con Mike Mignola, Sergio Sandoval y Francisco Ruis Velasco.

Guillermo del Toro es también amigo de Alfonso Cuarón y Alejandro González Iñárritu, otros dos directores mexicanos renombrados. Los tres influyen a veces en las decisiones de los demás en cuestiones de dirección, han sido entrevistados juntos por Charlie Rose y Cuarón fue uno de los productores de El laberinto del fauno con su compañía Esperanto Filmoj. Los tres fueron nominados a los Premios Óscar de 2006, celebrados en febrero de 2007: Del Toro fue nominado por El laberinto del fauno (que obtuvo seis nominaciones, incluyendo mejor película de habla no inglesa), Cuarón por escribir y editar Children of men e Iñárritu por producir y dirigir Babel. Del Toro had been raised Catholic, but this sight, he said, upended his faith. Humans could not possibly have souls; even the most blameless lives ended as rotting garbage. He became a “raging atheist.” Guadalajara was a rough place, and he recalled his childhood as a slide show of harrowing images: the decapitated body of a teen-age boy, found by a barbed-wire fence; a crashed motorist aflame inside his VW Beetle. Del Toro said, “People tell me, ‘Oh, you must love forensic photos.’ But I can’t stand the sight of real pain or blood.”

Detalles del producto

Asimismo, en 2012 se anunció que Marvel tenía en desarrollo una nueva serie de televisión de El increíble Hulk. Sin embargo, tras la buena recepción del personaje luego del estreno de The avengers, la productora retomó el plan para hacer una nueva película con el personaje de Bruce Banner interpretado por Mark Ruffalo por lo que el proyecto televisivo está en pausa. [27 ]​ 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.” Guillermo del Toro's The Shape of Water: Creating a Fairy Tale for Troubled Times (2017), introducción al libro. 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.”

The meeting at Universal, he said, was at ten-thirty: “I’ve never been this nervous going to a meeting. This invested.” He added, “There are certain rules to dating a movie. You try to fall in love when it’s a reality, and try not to be completely head over heels on the first date. But I’m hopelessly in love with the creatures.” 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.” Guillermo del Toro es nominado al Oscar por ‘Pinocho’... ¿Cómo les fue a los demás mexicanos?». Reporte Indigo . Consultado el 25 de enero de 2023. Adam Fogelson and Donna Langley, the top executives at Universal, would attend, as would James Cameron. Del Toro said, “He’s supporting what I want. He said to me, ‘You did this with five guys in ten weeks? That’s astounding.’ ”

For the first few days, del Toro wanted his “Madness” artists to draw without precepts. These men had been sketching Shoggoths since junior high school. What had Lovecraft made them see? “Lovecraft is actually really stringent about describing the Old Ones,” he noted. “And his design is really hard to solve, because they are essentially winged cucumbers.” Venice Competition Includes Films From George Clooney, Guillermo del Toro, Darren Aronofsky». The Hollywood Reporter. Prometheus Global Media . Consultado el 27 de julio de 2017. El primer goya de Guillermo del Toro». López-Dóriga Digital . Consultado el 19 de noviembre de 2022. The architecture of the Old Ones was based on “curves and cylinders,” he said. “There are no steps, no ramparts. And the edifices are not at all human. There’s no balconies or doorways.” The city resembled a labyrinth of pneumatic tubes. Betancourt, José Díaz (19 de marzo de 2007). «El laberinto del fauno». La gaceta ( Universidad de Guadalajara). Archivado desde el original el 25 de enero de 2018 . Consultado el 6 de marzo de 2018.

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.” The sketches and the ideas in that misplaced journal — four years of notes on character design, ruminations about plot — were the foundation of “Pan’s Labyrinth,” a child’s fantasy set in the wake of the Spanish Civil War.Guillermo del Toro wasn’t directing this movie. He was living it. And it was turning into a horror tale. Antes de la WonderCon de Los Ángeles de 2013, Guillermo del Toro inició conversaciones con Warner Bros. Pictures y la compañía de historietas DC Comics para trabajar en una adaptación que reuniera en un grupo de superhéroes paranormales a personajes clásicos del sello Vertigo como Etrigan el Demonio, El Espectro, Deadman, Zatanna, John Zatara, Sargón, El Extranjero Fantasma, John Constantine, La Cosa del Pantano, Madame Xanadú, Sombra y Encantadora, junto con otros nuevos como Mindwarp, tomando como base el reciente éxito comercial de una serie basada en Los Nuevos 52 -reinicio de las historias de DC- llamada La Liga de la Justicia Oscura, de la que también se desprenderían series de películas para cada personaje. Con el aval de las compañías, Del Toro ya les había entregado para noviembre de 2014 un guion titulado Dark universe, el cual se mantiene en los planes de producción hasta la fecha, pero de la que se anunció en junio de 2015 que el director ya no se encontraba vinculado al proyecto. [29 ]​