Guillermo del Toro produced ScaryStoriesMovie, which comes out this weekend, and just received a star on the Hollywood Walk of Fame today. Which of these del Toro-directed movies is your favorite?
ever not in pre-production? The Oscar-winning director-writer-producer has seemingly lived in a constant state of development for the entirety of his nearly three-decade career, with his boundless ambition being just as essential to his career as his inimitable eye for creature design, his reservoirs of genre film knowledge, and his ability to balance grotesque horror with Catholic mythology and righteous humanism.
While del Toro has been honing his style as a director since his 1993 feature debut, “Cronos,” he’s more recently developed into a producer of impressive taste and foresight. From his earliest production projects, del Toro has been proven a keen judge for scouting out young filmmakers, helping give J.A. Bayona and Andy Muschietti their first worldwide platforms.
“Obviously he worked on this script to direct it himself, so he comes into it with a vision of his own,” Øvredal says. “But the wonderful part was that the moment they hired me to direct, the first thing he told me was, ‘Now this is your film. Do not make aWhere del Toro exerted the most influence, Øvredal found, was in post-production, taking a hands-on role in finely tuning the final cut.
“I remember when I did ‘Cronos,’” del Toro says. “Back then when you hired a dolly or a crane it was a huge deal to rent it, and I was a first-time filmmaker. So my cinematographer and I planned this beautiful shot with a crane on one of our main sets. We basically designed the whole set around that shot. And then that was the first shot I took out in post. My cinematographer said, ‘It was the best shot of the movie!’ and I said ‘No, it was the one that stopped the rhythm.
“Like most noir literature [of its era], in the book there was sort of a disillusionment with capitalism, and a disillusionment with quote-unquote civilization of the urban environment,” he says. “I thought it was very sexually charged, and really poignant about America, with a brilliant intuitive connection between carnival mentalism and the birth of psychology in America.”
Considering his work as an executive producer on “Kung Fu Panda 2” and a producer on “The Book of Life,” it’s surprising that it’s taken del Toro this long to finally attempt to direct a proper animated feature. After all, as he notes, he’s been dabbling in stop-motion ever since he was a kid with a Super 8 camera, and he’s working to set up animation scholarships, as well as a stop-motion resource center in his native Guadalajara.
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