Person in the collaborative YouTube route Where’s My Problem, which features comedic problem videos. Before signing up for Where’s My Problem, he ran Backdown Campaigns in Southampton. Where’s My Problem provides over 1.3 million subscribers. He was created and elevated in Southampton, Britain along with his parents and youthful sister. He and Lewis Levy possess collaborated on Where’s My Problem?
Awards BAFTA Award for Best Foreign Language Film, Goya Award for Best Original Screenplay, Ariel Award for Best First Work, Ariel Award for Best Direction, Hugo Award for Best Dramatic Presentation, Long Form, Nebula Award for Best Script, ALMA Award for Industry Excellence, Ariel Award for Best Original Story, Bodil Award for Best Non-American Film, Satellite Auteur Award, Ariel Award for Best Screenplay for Cinema, San Francisco Film Critics Circle Award for Best Foreign Language Film, Gotham Independent Film Tribute Award
Nominations Academy Award for Best Foreign Language Film, Academy Award for Best Original Screenplay, Goya Award for Best Director, Independent Spirit Award for Best Feature, BAFTA Award for Best Original Screenplay, Golden Lion, PGA Producer of the Year Award in Animated Theatrical Motion Pictures, Critics' Choice Movie Award for Best Foreign Language Film, Grand Jury Prize, Goodreads Choice Awards Best Fantasy, Venice Film Festival Green Drop Award, National Society of Film Critics Award for Best Director, Silver Lion for Best Director, ALMA Award for Outstanding Latino Director of a Feature Film, Goodreads Choice Awards Best Horror, ALMA Award for Outstanding Director of a Feature Film
Movies Pacific Rim, Crimson Peak, Pan's Labyrinth, The Devil's Backbone, Cronos, Hellboy II: The Golden Army, Blade II, The Shape of Water, Hellboy, Mimic, The Book of Life, Don't Be Afraid of the Dark, The Hobbit: An Unexpected Journey, Puss in Boots, The Hobbit: The Battle of the Five Armies, The Hobbit: The Desolation of Smaug, Julia's Eyes, Extraordinary Tales, Crónicas, Rudo y Cursi, Geometria, Doña Lupe, El Santos vs. La Tetona Mendoza, Insignificant Things, The Captured Bird, Pinocchio, The Thin Yellow Line, Pacific Rim: Uprising, Starz Inside: Comic Books Unbound, Shiver, Bullfighter, Rage, El último truco. Emilio Ruiz del Río, Midnight Delivery, Born, Guillermo del Toro on Los Olvidados + El Bruto, Guillermo del Toro on Nazarin + Viridiana
TV Shows Trollhunters, The Strain, Five Came Back, HypaSpace, Miradas 2
Used to work as an orderly at a mental institution and would eat lunch in a morgue next to it.
Has extensive knowledge and practical experience playing video-games, and is very good friends with Japanese video-game designer/director Hideo Kojima, with whom he shares many interests, including 1960s classic movies and Japanese TV shows, and rare toys.
Inducted into the Texas Film Hall of Fame during their gala held on March 12, 2015 in Austin, Texas.
His favorite movie monsters are Frankenstein's Monster and the Creature of the Black Lagoon.
In a January 2007 interview on the radio program "Fresh Air with Terry Gross," said that his strictly Catholic grandmother was a "Piper Laurie in Carrie (1976)" figure in his childhood. He told Gross that his grandmother would require him to mortify himself in self-punishment, in one case placing metal bottle caps into his shoes so that the soles of his feet were bloodied while walking to school. She also tried to exorcise him twice because of his persistent interest in fantasy and drawing monsters from his imagination.
1997: His father was kidnapped in Mexico and held for seventy-two days until his ransom was paid.
Fought the film studios for almost seven years to get Ron Perlman for the title role in Hellboy (2004). The studio wanted a bigger name to ensure the success of the movie, but del Toro thought that Perlman was the perfect choice and wouldn't make the movie if he wasn't cast.
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The natural state of a movie is 'not-getting-made.'
[on what's the scariest thing he's ever seen on a television show] When I was a kid, it's not a metaphor, but I actually soiled myself when I was a child watching Night Gallery (1969). There was an episode called The Doll. I remember when the doll smiles, I literally lost control of my sphincter.
You cannot aspire to do a movie that is as quirky as Pan's Labyrinth (2006) in the Hollywood machinery. It would get tested and noted by executives to death, and end up having a happy ending and all that bullshit, you know? And at the same time, you cannot end up with with a movie that is as spectacular and magnificent in showmanship as Pacific Rim (2013) if you do it in Mexico or Spain.
Kaiju [monster] movies, by definition, bring a completely escapist fun. When you're a kid and you're watching Godzilla stomp a bunch of tanks or jets or through a city, the proportions of these things are so enormous that you cannot correlate them to anything real. What I do is I then bring in visually a very different sense of style from reality. I have these super-colored lights illuminating the rain, so it looks like a living comic-book or a living anime, you know? And the things that I do very, very consciously is I vacated all the streets so they would be empty of people. So you're never thinking 'Oh, the kaiju just crushed 600 people'. Because the streets are vacated and everybody's in a refuge, all they can destroy is buildings and vehicles when nobody's there.
[on whether he was thinking of directing a Star Wars sequel] It's like thinking if I want to date a supermodel. I don't think about these things.
I hate Hollywood movies with children as happy, brainless creatures that spout one-liners. What I tried to put in The Devil's Backbone (2001) is how unsafe it is to be a child. Many times in my life I saw children almost kill each other.
[on what attracts him to genre films] The beauty and the horror. These directors have made great works of art in a genre that most people just throw in the garbage bin, that they don't think is important. But The Innocents (1961) is as powerful a film as you'll see in any genre. It towers above other films.
I like pictures that are perverse and intelligent, something that you actually take home with you. Black Sabbath (1963) might not make you jump every minute but Mario Bava makes indefatigable images and Jack Clayton's The Innocents (1961) is so creepy and powerful, he's going to outlive the filmmakers going for short-term scares.
The horror story was birthed when we became sedentary cavemen and started telling scary stories to keep the children from wandering off into the night. Today, there's nothing more cathartic for a guy in a three-piece suit, someone super wound-up and super-tight, to get on a roller-coaster of a horror film and scream like a madman.
[on celebrating Halloween] I've been making myself up as a nasty zombie and playing the character really straight, never breaking and not giving out candy. I wander my neighbourhood with an eye socket gone, moaning and groaning, and the kids all freak out. But this year my wife and daughter begged me to go as a pirate, so that's what I'm doing. But I recommend everybody who has the option, to scare trick-or-treaters and freak out as many people as they can.
[on what scares him] (jokingly) Politicians -- a lot. They are so deranged, especially these days. And human pettiness. Oh my God that's scary. It's so horrifying. I've seen a UFO, and I've heard ghosts twice -- once in New Zealand and once in Mexico, but those are not the scariest things. The scary things are real things like every day.
Stanley Kubrick's absolute control over the medium turns his rock-solid framing and tense timing into real weapons pointed directly at the unsuspecting audience of The Shining (1980). No one has ever used the Steadicam as perfectly as he did in the tracking shots behind Torrance, Danny's tricycle. He uses the soundtrack brilliantly, fusing concrete music with sound effects and score to unsettle and position the uber-mannered, hyper-real performances of his actors. And, refreshingly, Kubrick is not above moments of Grand Guignol: the elevator doors spilling blood, the axe on the chest, the Grady twins bathed in blood or the old undead crone festering in the bathtub. He proves that great horror can be both shocking and a highly artistic endeavor.
[at San Diego Comic-Con]: I fabricate everything. There's not a single real thing in Pan's Labyrinth (2006), because ultimately I'm very specific about [those details]. Context is everything in a fable, because every story has already been told. So the only variations I find are the voice of the storyteller and the context in which it's told.
Do whatever the fuck you want, even if it's wrong, and then tell about it with honesty. That is filmmaking to me...Success is fucking up on your own terms.
If you're not operating on an instinctive level, you're not an artist.... Reason over emotion is bullshit, absolute bullshit... We suffocate ourselves in rules. I find fantasy liberating.
History is ultimately an inventory of ghosts.
I think that 50 percent of the narrative is in the audio/visual storytelling. I happened to think the screenplay is the basis of it all, but definitely doesn't tell the movie. It tells the story, but doesn't tell the whole movie. A lot of the narrative is in the details.
[on Stanley Kubrick] I admire Kubrick greatly. He is often accused of being a prodigious technician and rigid intellectual, which people say makes his films very cold. I don't agree. I think that Barry Lyndon (1975) or A Clockwork Orange (1971) are the most perfect marriages of personality and subject. But in fact, Full Metal Jacket (1987) is even more so. It looked at rigidity and brutality with an almost clinical eye. It is, for me, a singular film about the military, about war and its consequences. The famous scenes, like the induction with R. Lee Ermey where he renames the soldiers and reshapes them into sub-human maggots, had a particular impact on me. Also the suicide scene with Vincent D'Onofrio in the bathroom. And the sniper set-piece at the end. Those are absolutely virtuoso pieces of filmmaking.
That's what I love about fairy tales; they tell the truth, not organized politics, religion or economics. Those things destroy the soul. That is the idea from Pan's Labyrinth (2006) and it surfaces in Hellboy (2004) and, to some degree, in all my films.
My life is a suitcase. I am the traveling Mexican.
These shots are not eye-candy, they are, to me, eye-protein. - regarding Pan's Labyrinth (2006).
The sign of a true friendship is when you can forgive success.
It would be a cliché to say that, because I am a Mexican, I see death in a certain way. But I have seen more than my share of corpses, certainly more than the average First World guy. I worked for months next to a morgue that I had to go through to get to work. I've seen people being shot; I've had guns put to my head; I've seen people burnt alive, stabbed, decapitated ... because Mexico is still a very violent place. So I do think that some of that element in my films comes from a Mexican sensibility.
I remember the worst experience of my life, even above the kidnapping of my father, was shooting Mimic (1997) [del Toro's first Hollywood feature, in 1997, which was severely compromised by producer interference]. Because what was happening to me and the movie was far more illogical than kidnapping, which is brutal, but at least there are rules. Now when I look at Mimic, what I see is the pain of a deeply flawed creature that could have been so beautiful.
Aside from being a perfect Hellboy, he is a gentleman, a friend to die for, a great actor and - for the ladies - he has the sexiest male voice this side of Barry White. What more can one ask for? - On Ron Perlman, 2002.
When you have the intuition that there is something which is there, but out of the reach of your physical world, art and religion are the only means to get to it.
Films often feature a portal that leads to different worlds
His films frequently show an autopsy or have a scene set in a morge. The autopsy is often performed over a non-human character.
One or more of his protagonists are often strongly and pivotally influenced by their father figures.