{"id":30030,"date":"2008-09-28T00:44:40","date_gmt":"2008-09-28T05:44:40","guid":{"rendered":"http:\/\/www.theonering.net\/torwp\/?p=30030"},"modified":"2008-09-28T00:44:40","modified_gmt":"2008-09-28T05:44:40","slug":"the-most-beautiful-writing-experience-of-my-life-guillermo-talks-scripting-the-hobbit","status":"publish","type":"post","link":"https:\/\/www.theonering.net\/torwp\/2008\/09\/28\/30030-the-most-beautiful-writing-experience-of-my-life-guillermo-talks-scripting-the-hobbit\/","title":{"rendered":"“The most beautiful writing experience of my life” ~ Guillermo talks scripting The Hobbit"},"content":{"rendered":"

\"\"<\/a>Our friends at Popcorn Taxi <\/a>have come through with the audio of their August 18 Q&A with Guillermo del Toro regarding Hellboy II to transcribe. The biggest bombshell of the night came near the end of the 42 minute session: The first official news that the scripting team of Peter Jackson, Fran Walsh, Philippa Boyens and Guillermo del Toro had begun writing The Hobbit. Here\u2019s how Guillermo described the breaking news:<\/p>\n

\n

Guillermo<\/span><\/strong>:<\/em><\/span><\/span><\/p>\n

\u201cWell the only thing I can say is that we are now finally and officially and merrily in progression on the scripting process<\/span><\/strong>. <\/em><\/span>We are all actively working on it and having a grand time at it. <\/em><\/span>It keeps transforming and changing and it is \u2018the most beautiful\u2019 writing experience of my life<\/span>, I\u2019m enjoying it tremendously \u2013 and there\u2019s bound to be news soon enough.”<\/em><\/span><\/p>\n<\/blockquote>\n

\u00a0<\/em><\/span><\/p>\n

Without further adieu, here is the transcript in full of the Q&A session. The Hobbit news can be found at (41:21) on the last page. I would encourage everyone to read the full transcript as Guillermo talks in depth about his early interests in automatons and clocks, his characters, cast, monsters fairies and vampires, children\u2019s books, CGI and effects, his childhood, The Golden Compass, spirituality, his inspirations and his perspective of the world he perceives. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/p>\n

Hellboy II & Guillermo del Toro Q&A Live from Berlin – Transcript<\/span><\/h2>\n

Hosted by: Popcorn Taxi (Sydney Australia)<\/span><\/span><\/em><\/p>\n

Popcorn Taxi:\u00a0 <\/span><\/span><\/span><\/em>http:\/\/www.popcorntaxi.com.au\/about.php<\/span><\/span><\/em><\/a><\/em><\/p>\n

\u00a0<\/span><\/span><\/em><\/p>\n

Host: Oscar Hillerstrom (sci-fi channel)<\/span><\/span><\/em><\/p>\n

Date: 18th<\/sup> August 2008 @ 11:00pm (AEST)<\/span><\/span><\/em><\/p>\n

<\/em><\/p>\n

<\/em><\/p>\n

Theatre Event Location: Greater Union Cinema, Bondi Junction, Sydney, Australia.<\/span><\/span><\/em><\/p>\n

Associated Theatre event: Cinema Nova, Melbourne Australia.<\/span><\/span><\/em><\/p>\n

Transcription by: Deleece Cook<\/span><\/span><\/em><\/p>\n

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\u00a0<\/span><\/p>\n

Introduction by Host, Oscar Hillerstrom<\/strong>:<\/span><\/p>\n

… now if you\u2019re wondering where all this comes from, some of you may know that he had a Grandmother who brought him up (you know) in a very strict Catholic background. She tried to exorcise him twice because he kept on coming up with these strange drawings of demons and monsters till, I guess at one point she decided that he needed to atone for his sins. So he had to walk to school with bottle caps in his shoes the wrong way up, so that he would bleed for his sins. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

So she was a pretty special character, and I think you can often see in his films the kind of rebellion that that kind of punishment breeds. Obviously the film here (<\/span>referring to the Hellboy II The Golden Army<\/span><\/em>) \u00a0<\/span>was all about whether you take disobedience on a personal level, or many different levels, and also that beautiful clash between what we know about the natural world and what we\u2019ve decided to construct in our own world. And I think perhaps now when he has started with Pan\u2019s Labyrinth and also hopefully will take us when he gets to the Hobbit, is this wonderful idea that good and the bad, being not only two sides of the same coin, but merely the same thing looked at in a different way. And I think perhaps not only just as film-goers but also as people we can take of those things …<\/span><\/span><\/p>\n

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\u00a0<\/span><\/p>\n

(00:)<\/span><\/p>\n

Guillermo del Toro<\/span><\/strong>: <\/span><\/span><\/p>\n

Hello?<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

\u00a0<\/span>… a little bit more …<\/span><\/span><\/p>\n

Ah! Here he is. Hello! Guillermo!<\/span><\/p>\n

\u00a0<\/span><\/p>\n

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Guillermo<\/span><\/strong>: \u00a0<\/span><\/span><\/span><\/p>\n

Hey!<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Oscar<\/strong>: <\/span><\/span><\/p>\n

Hello Guillermo, this is Oscar in Sydney and in Melbourne.<\/span><\/p>\n

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\u00a0<\/span><\/p>\n

Guillermo<\/span><\/strong>: <\/span><\/span><\/p>\n

Perfect!<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Oscar<\/strong>: <\/span><\/span><\/p>\n

Thank-you very much for a great film!<\/span><\/p>\n

[<\/span>The audience generously applauses<\/span><\/em>]<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

\u00a0<\/span>Ah, Thank-you, thank-you. I just landed in Berlin [<\/span>laughs<\/span><\/em>], so I maybe a little jetlagged for your questions but [<\/span>laughs<\/span><\/em>] great! Happy to be there.<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Oscar<\/strong>: <\/span><\/span><\/p>\n

Well it\u2019s fantastic to have you coming at us through the ceiling. <\/span><\/p>\n

[<\/span>the interview is conducted by satellite phone \u2013 Guillermo\u2019s voice fills the cinema<\/span><\/em>]<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Guillermo<\/span><\/strong>: (<\/span>laughing<\/span><\/em>)<\/span><\/span><\/p>\n

I do that only at dinner. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Oscar<\/strong>: [<\/span>Laughing<\/span><\/em>] <\/span><\/span><\/p>\n

Well I think the first\u00a0 <\/span>… I\u2019m going to ask you some questions and then we\u2019re going to have some questions from Sydney and some questions from Melbourne. <\/span><\/p>\n

Obviously, you\u2019re travelling the world telling the people about this film, [<\/span>Guillermo answers: \u2018yes\u2019.<\/span><\/em>] and I think the first question we have for you is: Why? Why do you feel the need to tell these stories?<\/strong> You tell them in such a specific way and they are an explosion of your mind, why do you have to share your mind with the world?<\/strong><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(02:20)<\/span><\/p>\n

Guillermo<\/span><\/strong>: <\/span><\/span><\/p>\n

Well, you know, I think that the images and the characters, and ultimately the stories seem to be something that I love to share. And the creation of those things is so elaborate, is so difficult, and ultimately rewarding \u00a0<\/span>when they come out the way you want them to \u2013 ah, you know \u2013 I know for example in Hellboy II<\/span> there is the scene with the Troll Market<\/span>, which of the beginning, I threw out, I found a lot of opposition, a lot of people didn\u2019t see it the way I saw it in my mind, and when I finally was able to realize the world and the creatures that populate the Troll Market<\/span>, (ah, you know) there is a great satisfaction \u2013 it\u2019s almost like \u2013 I wouldn\u2019t say it\u2019s as important but it\u2019s almost like discovering \u2013 not so much as a new continent, because it\u2019s not that important (<\/span>laughs<\/span><\/em>), but it\u2019s almost like showing people a little street of a very strange village that you knew existed and that is not in any map. So you are a very tiny discoverer of Orel (?)<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(03:37)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Now film making isn\u2019t just a personal journey, although obviously you have a very specific stamp on your films – you share the load with many different people. Obviously your stars – in this case Ron<\/span> Perlman<\/span>, who\u2019s worked with you quite a bit. And of course also Luke Goss<\/span>, who as Prince Nuada<\/span> has shown people that he really has taken his first introduction into the big leads that you gave him in Blade<\/span> II<\/span> \u2013 They\u2019ve really made their roles their own, but they\u2019ve given these roles a life of their own. But there\u2019s one other person that I think nobody notices \u2013 but he\u2019s been with you for a while as well \u2013 and that\u2019s Brian<\/span> Steele<\/span> \u2013 who\u2019s the man inside Wink<\/span>, and whose also the Scottish Fragglewump<\/span> [<\/span>Guillermo answers: \u2018Yes\u2019.<\/span><\/em>] … Can you tell us a little bit about how do you create a character with a man in a monster suit like that?<\/strong><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(04:31)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Well there\u2019s very few performers that can actually become actors and you can colour the monster suit world, and certainly under make-up. You know some of the great actors – you put prosthetic make-up on them and they kind of freeze (or) but some of the great one\u2019s can also enjoy it. <\/span><\/p>\n

\u00a0<\/p>\n

Case in point historically, Laurence Olivier<\/span> or Peter Sellers<\/span> were people that thrived on their make-up. Ron Perlman<\/span> is one of them certainly, and a dear friend of mine. But, Doug Jones<\/span> and Brian Steele<\/span> both \u2013 they are immaculate making suits and prosthetic effects and so forth come to life like nobody else I know frankly, so in that sense they are kind of (a) ruined with me because I obligate them to perform two or three sometimes four parts in the same movie because I am spoilt. They are too good and I won\u2019t settle for a performer that is less than that.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

In this movie I was happy to also work with one of the greatest performers, that is one of the three performers that gives the light to Johann<\/span>, and that is John Alexander<\/span> who has been in many mythical creations including Men In Black, and Greystoke, and most of the famous Gorilla suits done by Rick Baker have been worn by John Alexander<\/span>. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

It\u2019s a particular art, and Brian Steele<\/span> <\/em>is a guy that is really great at portraying of physical brute force, but also is capable of a lot of nuance, he plays Cathedral Head<\/span>, he plays Fragglewump<\/span>, he plays Wink<\/span>, he appears as Himself at one point. He\u2019s the guy that yells at Hellboy \u201cHey, your Hellboy!\u201d \u2013 You know \u2013 and Hellboy says \u201cYeah, I\u2019m ugly\u201d \u2013 you know. So Brian<\/span> is also a very loyal guy and one of the few guys that can put on a suit as brutal and as massive as Wink<\/span> \u2013 which is one of the best but also most difficult creature suits I\u2019ve ever seen. He was losing I think \u2013 I may be exaggerating \u2013 but I believe he was losing ten, fifteen pounds of sweat every day in that suit. To the point where I think my wife suggested very strongly, I get one. [<\/span>Oscar laughs heartily<\/span><\/em>]<\/span><\/span><\/p>\n

… or made.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(07:04)<\/span><\/p>\n

Oscar<\/strong>: (<\/span>laughs<\/span><\/em>)<\/span><\/span><\/p>\n

Um, now these films are, they\u2019re wonderful fun, and there\u2019s a lot of comedy, and I think particularly tonight\u2019s performances that we saw with the interaction with for example between Johann and…\u00a0 <\/span>Hellboy<\/span>, [<\/span>Guillermo answers: \u2018Hellboy, yes.\u2019<\/span><\/em>] Was that something that you\u2019ve been wanting to do for a while \u2013 and \u2018Cutting Loose\u2019, or has this been something that people have said \u201cHey, we\u2019re got to have a bit more comedy, a bit more of this, a bit more of<\/strong> ..\u201d<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(07:29)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

No, No. I\u2019ve been wanting to do it. I think that you can see a little bit of comedy for example even as early as Cronos<\/span>. If you watch Cronos<\/span> again and you re-watch it, there is a Morgue Attendant that is purely a comedic beat. And here and there on Mimic, I was able to do it a little bit with Charles Dalton and with the kids, but you know, only until I did the first Hellboy was I able to bring a little bit of that comedic touch. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

On the first Hellboy<\/span> much less than this one \u2013 much, much less. But I always love the Ron Perlman\u2019s sense of comedy, his sense of timing for comedy. And I always write \u2013 the roles I write for him \u2013 or for Luke Goss, or for Doug Jones or Selma Blair, I write them with their particular rhythms and particular delivery in mind.\u00a0 <\/span>And I thought it would be a great interaction to contrast Hellboy<\/span> and Yohan, and in other ways\u00a0 <\/span>contrast even Hellboy<\/span> more than in the first \u2013 I very much wanted to have more character oriented moment.<\/span><\/p>\n

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\u00a0<\/span><\/p>\n

(8:43) <\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Is there, now that your films are in a sense becoming a brogue map, there\u2019s almost a pathway where you seem to be taking the elements of things in jars, mechanical objects and of course the other \u2013 all the monsters or nature. Is there somewhere where you\u2019re taking us?<\/strong><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(09:04)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Well, you know, I think that (um) in a strange way I don\u2019t have a (I don\u2019 have) a goal in mind. It\u2019s more like a wandering spirit that I really transverse those roads \u2013 you know, if I did my career the way I wanted it to happen, there wouldn\u2019t be four years, a four year gap between Cronos<\/span> and Mimic<\/span>, and another four years gap between Mimic<\/span> and Devil\u2019s Backbone<\/span>. And they wouldn\u2019t have happened in that order necessarily. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

And you know, some of the best movies I\u2019ve written I\u2019ve never shot. You know, they remain unproduced. So you know, I do know that there is an almost unlimited amount of stories and creatures and places that I would love to continue to create. And I know now that I\u2019m 43, I have a certain sense of (a) realization that I will never be able to do them all. You know I don\u2019t have this optimism of youth that time will be unlimited and I will be able to make all the movie and create all the creatures. So you know, just (err) expect more weirdness if you want to share it.<\/span><\/p>\n

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(10:32)<\/span><\/p>\n

Oscar<\/strong>: [<\/span>laughs<\/span><\/em>]<\/span><\/span><\/p>\n

Well (um) As a student and an author of Alfred Hitchcock I believe you\u2019ve written a book about Hitchcock. [<\/span>Guillermo answers \u201cyes\u201d]\u00a0 <\/span><\/span><\/em>I\u2019m just wondering that (?) he went on making quite a few films as he went on it life and also produced a very singular flavour which people again and again returned to. Do you think you\u2019re movies,\u00a0 <\/span>that you haven\u2019t made, say for example\u2019 The Left Hand of<\/span> Darkness<\/span>\u2019 which is the western based on the Count of Monte Cristo<\/span>, or of course \u2018At The Mountains of Madness\u2019<\/span> which is based on H. P. Lovecraft<\/span> \u2013 Do you think these films will give you that outlet that you\u00a0 <\/span>so desire?<\/strong><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(11:07)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

I do. I do. And even if I get to do all those and I continue, if you look at the career of Hitchcock<\/span> is model-ic. In around 50 years he did over 50 \u2013 over 50 films. He generated a very successful TV series of which he directed and quite a (bit) number of episodes \u2013 and essentially, that is an ideal career.\u00a0 <\/span>\u00a0<\/span><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

It\u2019s a career which is part of an industry. And I really don\u2019t feel completely at home quite anywhere. I am ill-fit somewhat in the European or Independent Film scene, you know, I don\u2019t quite fit the model\u00a0 <\/span>of the Art House Movie completely, except now and then, and I don\u2019t feel completely at home in the Hollywood system either. So it is hard for me to promise myself continuity of that sort. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

I cannot promise myself to become Woody<\/span> Allen<\/span> and have a steady flow of one movie per year. Also because the Universes I create normally take at the very least eight months, nine months just of designing and conceptual pre-production. I cannot be that fast. But I would love to. I would love to if I could have had chosen a model \u2013 both – the two film makers I admire the most were very prolific film makers \u2013 both Louis<\/span> Verneuil<\/span> and Alfred Hitchcock<\/span> were very prolific.<\/span><\/p>\n

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(12:50)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Well, I think we\u2019re going to open up the floor now Guillermo. We\u2019re going to send our microphones around to our friends here in Sydney. And we\u2019ve also had some questions already asked down in Melbourne. So I\u2019m going to try with some audience questions, and <\/span>[laughs<\/span><\/em>] we\u2019ve got some interesting ones. Umm, OK, we\u2019ll start off with this one \u2013 some we may know, but some we may not. <\/span><\/span><\/p>\n

What children\u2019s books or novels have inspired you?<\/span><\/strong><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(13:26)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Well there\u2019s many. And there is a very important seminal period in any guy\u2019s life, in any person\u2019s life where you read those magical books. I always say there\u2019s a moment where you discover Tom<\/span> Sawyer<\/span>, or you discovered Treasure<\/span> Island<\/span>, or you discover \u2013 and in my case \u2013 strangely enough, I read all that, but the really important discoveries were all fantastic works. Mostly in the category of horror, I discovered H. P. Lovecraft<\/span> at a very young age. So I know it doesn\u2019t qualify as a normal children\u2019s book [<\/span>laughs<\/span><\/em>] those were very youthful reads \u2013 Mark Twain<\/span>, most of Mark Twain, Lovecraft \u2013 um, Oscar Wilde<\/span>, certainly all the Faery books, all the children\u2019s Faery Books I have at home available, I read them all. And I continue to collect Faery Tales and Folklore and Myths from around the world. <\/span><\/span><\/p>\n

\u00a0<\/p>\n

I have a good hefty library of these themes. And (you know) one of them is coincidentally is The Hobbit<\/span>, which is the project coming up of two movies. I\u2019ll be very close to Australia; I\u2019ll be closer than now [<\/span>laughs \u2013as he is currently in Berlin<\/span><\/em>] shooting those movies. I hope to drop by and visit you. <\/span><\/span><\/p>\n

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\u00a0<\/span><\/p>\n

(15:00)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Well we\u2019re all looking forward to that!<\/span><\/p>\n

Now we\u2019re going to have your first ever question form a Sydney audience live \u2013 and they are ready, now.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(15:08)<\/span><\/p>\n

Audience Member:<\/span><\/span><\/strong><\/p>\n

Hello Guillermo. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

(15:12)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Hey!<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(15:14)<\/span><\/p>\n

Audience Member<\/strong>:<\/span><\/span><\/p>\n

I saw in the Credits you turned up as \u2018Creature Vocals\u2019. What does that mean. Is that miscellaneous grunts in the Troll Market?<\/span><\/strong><\/p>\n

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\u00a0<\/span><\/p>\n

(15:19)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Yeah, well, it actually \u2013 I have done the voice s of most of the monsters in most of my movies. I was the insect in Cronos<\/span>, I was in Devil\u2019s Backbone<\/span> I was the wheezing breathing of the ghost, in Mimic<\/span> I was a lot of the creature sounds of the insects \u2013 the reaper \u2013 (?) two, sometimes a fourth.\u00a0 <\/span>I take the credits sometimes I don\u2019t. <\/span><\/p>\n

\u00a0<\/p>\n

But in Hellboy II<\/span> we made it a point to do it because I am the voice of over 90% of the creatures that appear in the movie. I am the voice of Mr Wink<\/span>, I am the voice of the Tooth Faery<\/span>, I am the voice of every miscellaneous creature in the Troll Market<\/span> grunting, growling. So I have a lot of fun. It\u2019s easier for me to do it than to explain to another performer how to do it. And I\u2019m pretty good at lip-synch. [<\/span>Audience member laughs<\/span><\/em>] So you know, when I do that I feel that the creatures become, when I conceive them, when I design them with the team of designers, I already know how they\u2019re going to sound. So it\u2019s very easy for me to do it really quick \u2013 it\u2019s a very economical way also, because we do it in my lunch breaks \u2013 in post production, I go and do creature sounds for an hour or two.<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(16:50)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Now, I guess the climax with Hellboy II was almost the climax of your love of clockwork, and we have a question from Melbourne, which is: Could you please elaborate on your fascination with watches and clockwork?<\/strong><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(17:03)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Well first of all I\u2019m fascinated about by them as a fetish, as an object. I just love the absolute beauty of a handmade mechanism. I don\u2019t like gadgets as much as I like clockwork mechanisms. This all stems from the fact that when I was a kid my parents had a library that I read, and in the library there was a book that had one little chapter about automatons.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span>And I really loved the classic automaton makers like Jacquet Droz<\/span>, Jacques de Vaucanson<\/span>, they created automatons for the Courts of Europe, and reading about them, reading about for example, they created a duck that was able to swim and quack and eat and then eventually poop \u2013 you know it was just beautiful. And there is a fantastic legend in a later book I found (I don\u2019t know) about automatons, a fantastic legend that actually Vaucanson<\/span> was assigned by the court, by the Imperial Court, he was assigned to create a perfect mechanical model of the human body. And (for all) by all accounts he succeeded \u2013 up to a point except with the soft parts of the body, and that was the end of his experiment. The bureaucracy put an end to his experiment because they would not finance his trip to the Southern Islands to fabricate the parts from latex. <\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

So I was fascinated by this, by these accounts, and by many other accounts I read. I started collecting watches as a kid \u2013 not an expensive collection, by any means, but I love what is called \u2018skeleton\u2019 watches \u2013 the watches where you can see all the workings. And I disassembled a few watches in my life. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

Now, aside from that, aside from the fetish-istic point of view, I love the symbolic power of these images and others I go back to. I love the idea that the Universe, in my mind, the Universe is a very complex, very eccentric in the most strict physical sense of the word. And eccentric mechanical devise that keeps changing and evolving almost like a mechanical nanotechnology. I love that as a model of the universe, I love Clockwork. And I just think that in the story it became impertinent, not only for the fight to turn the gears, which has this sense of destiny and progression and inexcerability (?) but what I love is the idea that The Golden Army, it\u2019s a purely mechanical thing that doesn\u2019t care which side wins \u2013 one way or another. They will serve who ever wears the crown. And I also found it fascinating to create this reassembling, reconstructing nanotechnology made out of gears. So you know, I don\u2019t try to put it when it\u2019s not pertinent. There are no gear mechanisms I believe in Mimic or \u2013 no, I\u2019m lying (chuckles) I think there\u2019s one or two \u2013 but I bring it in whenever I can, but I don\u2019t try to force it into the story.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(20:36)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Thank-you. <\/span><\/p>\n

Now we have another question from Sydney … <\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Guillermo<\/span><\/strong>: <\/span><\/span><\/p>\n

Hey!<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Oscar<\/strong>: <\/span><\/span><\/p>\n

… Up here (microphone is being given to audience member)<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(20:41)<\/span><\/p>\n

Audience Member<\/strong>:<\/span><\/span><\/p>\n

Hello Guillermo \u2013 George here. Oscar was telling us before that your Grandmother tried to exorcise you twice \u2013 obviously it didn\u2019t work judging from what we saw on screen, and we\u2019re thankful for that! <\/span><\/p>\n

I\u2019m just wondering a couple of things \u2013 Ah, firstly Alfred Hitchcock<\/span> obviously appeared in all his films and now we know that you appear in an audio form, which is also nice to know too \u2013 but I was wondering about the metaphorical implications of the movie \u2013 umm \u2013 cause we know there\u2019s deep layers in your films \u2013 you come from Mexico<\/span>, which in a way is almost like the subjecated elf world, troll world, just below America (you know in some ways) You also come from a Catholic<\/span> background I imagine where you also have a strong sense of the mystical and the metaphorical \u2013 the bread and the blood and the wine all represent things (Guillermo: \u2018a-hah\u2019) and part of the body. <\/span><\/p>\n

\u00a0<\/span><\/strong><\/p>\n

So I\u2019m just wondering, are those conscious influences you think in your movies? The political and the religious, or are they kind of more subconscious percolating up and you\u2019re only aware of it afterwards or when somebody points it out to you?<\/span><\/strong><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(21:42)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

I think it\u2019s a little bit of both. I mean, no matter what \u2013 there is two schools of painting that I admire that are \u2013 that go about using symbols in very different ways. One is the art school of the surrealists<\/span> \u2013 which go at creating symbols just by juxtaposition but it\u2019s completely visceral \u2013 it\u2019s not systematic and it doesn\u2019t have a particular value.\u00a0 <\/span>You know the idea of surrealism is the act of juxtaposing images and things \u2013 is completely an act of creation. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

There\u2019s another school of painting that I also adore which is the symbolists. Which, calibrate their use of symbols very, very, very carefully.\u00a0 <\/span>And they do it in almost a renaissance or medieval way, where things represent thematic, spiritual or even some cases, social commentary. You know, you can find the Flemish<\/span>, Dutch<\/span>, Belgian<\/span> \u2013 many, many, many schools of painters that reflect these tendency. And in my case I think its a little bit of both. You can \u2013 I try to systematize the colours and the shapes and the textures and the movies and certainly the images to symbolize something particular. I will elaborate in the case of Hellboy<\/span> \u2013 what it is I think.\u00a0 <\/span>But at the end of the day, it\u2019s also a visceral creation and there is third fourth or no meaning. Eventually when you play it for an audience, they can signify something for me, and when they play for an audience, (they) (I) it either becomes just a popcorn movie, which I\u2019m perfectly happy with, or they become something else and they point it out to me.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

But I do try to at least come in with them forming a little system or a sub about certain something\u2019s, and the case of Hellboy II<\/span> for example we were talking about the Golden Army (you know) and I tried to create things where form and function, or form and theme content are one.<\/span><\/p>\n

\u00a0<\/span><\/span><\/p>\n

The Golden Army<\/span> looks like a clockwork because they are essentially living slightly humanized living weapons. You know, they have to have the heftiness, the weight, the appearance of a mechanical tank \u2013 because that\u2019s what they are \u2013 they are sentient, semi sentient tanks. They lack one key thing, which is will. And Will and Choice are things that I recur doing. I think that choice is what makes us human. Choices that make us become something more than just another mammal species on the plant. <\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

You know, – \u00a0<\/span>I am a very lapsed Catholic<\/span>, I lapsed perhaps earlier than when my Grandmother<\/span> exorcised me (chuckles). She did try to exorcise me twice \u2013 she was a very peculiar woman, but I loved her deeply. But I\u2019m completely lapsed \u2013 never to learn the mythology \u2013 the cosmology of Catholic dogma, and Catholic mythology \u2013 and the pandeum (sp?) weighs very heavily on me.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

In Hellboy II<\/span>, I think that beyond Mexico<\/span> , what I tried to say is that we\u2019ve come to a point in our culture which it makes me disparaged because we\u2019ve come to a point as a world, as a planet, where we can\u2019t apparently not agree on anything which is not truth in one whole historic or another. One needs to destroy another one in order to assert its self socially. And you can go to war over oil and you can still pretend that it\u2019s a Holy War, or a war of principles. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

And I wanted very much to show a culture, and entire culture and an entire way of life being destroyed and to have a super hero movie where it actually would make people realize that the only character in the movie with any immoral ideas, right or wrong, I\u2019m not sanctioning it, but the only character that thinks that beyond himself is the bad guy quote\/unquote in the movie. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

The only guy that enunciates total principles and concerns in the movie is the Prince \u2013 is Prince<\/span> Nuada<\/span>. Hellboy<\/span> is thinking about himself when he outs himself and he\u2019s thinking about himself only mostly throughout the movie \u2013 and so does Liz<\/span>, and Abe Sapien<\/span>, who very humanly gave up the world \u2013 these are very fallible heroes. And I think that the beauty of it is; for a character as much as adorable knuckle-head as Hellboy<\/span> is, for him to have a moment of (in his scale) of \u2018to be or not to be\u2019 would be elemental\u00a0 <\/span>– \u2018should I shoot it, or should I not?\u2019 Where normally all you get in a summer movie is bad guys straightly drawn and not with much moral ambiguity, and good guys with not much moral ambiguity, I think the theme is Hellboy II is very simple. It\u2019s extremely simple because I do think and I do hope the moral trajectory is not \u2013 at least that was my hope.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

I\u2019m very happy that other movies have this moral ambiguity \u2013 (umm) certainly Dark Knight<\/span> has a moral ambiguity \u2013 umm you know, I\u2019m not saying that everybody has to stand politically where I stand, but at least I want to do, I wanted to do Hellboy II and question the infallibility of heroes \u2013 you know.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(27:53)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

\u00a0<\/span>… Thank-you very much Guillermo.<\/span><\/span><\/p>\n

It seems strange that with your political ideas and your religious ideas and your love of clockwork, that you haven\u2019t taken the Golden Compass franchise and run with it.<\/span><\/p>\n

I\u2019m wondering in this world of studios which are a bit afraid of the world outside, and the Bible Belt and the things like that \u2013 Where there any changes \u2013 this is from Barbara in Melbourne \u2013 she\u2019s asking \u2018What studio changes were made to Hellboy II if any?<\/strong><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(28:27)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

You know, about the Golden Compass<\/span>, they were some of my favourite books \u2013 the Philip Pullman<\/span> books, and I did at some point (err) I was approached and I read one of the early drafts and there were already changes in at work in that draft that I didn\u2019t feel comfortable with because the essence of the book is to be very confrontational \u2013 you know, and I do think that fairytales need to be confrontational. They don\u2019t need to lie. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

You know there are two types of fairytale. Essentially one is the one that conforms with the system \u2013 and that\u2019s the fairytale which essentially where kids are taught to behave well. And then there is another fabulous form of fairytale where kids are taught to behave not necessarily bad, but certainly think for themselves \u2013 and that\u2019s the fairytale I much favour.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

And Golden Compass<\/span> was a very intriguing spiritual book \u2013 no so much so in the screenplay I read, and you know in Hellboy II<\/span>, I must admit that thematically and artistically other than budgetary concerns, I was very much left alone. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

There was no meddling, there was at some point questions about a line or two and I fought for them \u2013 but it was never a proteic battle. At one point somebody said they felt the audience would react aversely to a line like \u201cI\u2019m not a baby, I\u2019 a tumour\u201d. But I very much love that line so I (you know) fought for little things like that. <\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/span><\/p>\n

But it was never an epic battle of morality. These things are an advantage, because one of the great lessons of Alfred Hitchcock<\/span> \u2013 Alfred Hitchcock kept saying that he was essentially an anarchic film maker because he kept creating what he called Bomb Bombs poisoned with cyanide \u2013 he said if it looks like an amusing movie, if it looks like a commercial movie, if it looks like a popular piece of entertainment,\u00a0 <\/span>but you put these seedlings of contrary ideology in it, then you are essentially poisoning more people than if you\u00a0 <\/span>give them medicine straight. This was one of the great edicts that Hitchcock<\/span> gave, and I very much think that the studios were, the studio was very happy with Hellboy, \u2018cause we delivered a lot of value for the budget we were given, and they were very happy with the spectacular nature of the action and the sets and so forth, and there was not much pause about whatever heathen content I\u2019m pretending it has. I mean, this is more my own agenda, it was never made too public.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(31:50)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Now, we also have more questions from our Sydney audience who are chomping at the bit \u2013 and we have someone up there \u2013 there we are … <\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Audience member<\/strong>:<\/span><\/span><\/p>\n

Hi there.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Hi!<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(32:01)<\/span><\/p>\n

Audience Member<\/strong>:<\/span><\/span><\/p>\n

As a 3D student, I\u2019m just wondering what you\u2019re feeling on using animatronics compared to 3D or CGI?<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(32:13)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

I think that it\u2019s very easy to fall either way on an argument like this, and it would be very false to fall either way. I can say the following: I think that 3D<\/span>, CGI<\/span> can be a very lazy tool for very lazy directors. It\u2019s something that can be easily be abused by film makers that just don\u2019t feel like shooting things, and they want to have somebody else do the heavy lifting. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

I think that it\u2019s very important for example, even in a CG<\/span> effect to come in with elements of reality, to be plate, or an interacting actor, an interacting element, I think that when you go completely CG \u2013 exclusively CG on a frame \u2013 it has to be because there is no other resource. <\/span><\/p>\n

By the same token I think it\u2019s a wonderful tool. I think it\u2019s a tool that is with us for good \u2013 definitely for good \u2013 and it\u2019s with us forever, as long as film making exists. So everybody might as well embrace it and love it \u2013 \u2018cause it\u2019s here to stay.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

But I do see the animatronics<\/span> part of the process, as a dying art. And I think that it should not be.\u00a0 <\/span>It should be defended at all costs. And that\u2019s why, although we do expensive CGI in the movie very extensive \u2013 we have over a thousand shots \u2013 I can also proudly say that about 90% of the creatures that appear in the movie were achieved physically by animatronics<\/span> and make-up effects \u2013 not so with the Golden Army \u2013 not so with the Elemental \u2013 and not so with the Tooth Fairies to name a couple, because their size made it impossible to do physically. But whenever its physically possible\u00a0 <\/span>– even creatures as physically complicated at Wink<\/span>, or many creatures in the Troll Market<\/span> \u2013 we went the physical route because I think there is a beauty and a flavour to animatronics that is unique to it, and it should not be a lost art.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(34:28)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Now Guillermo, you\u2019ve said in the past that you have an empathy with monsters \u2013 that you have a \u00a0<\/span>compassion towards them because for being ultimately being inhuman and disenfranchised creatures, that they illuminate our humanity (<\/span>Guillermo answers: \u2018yes\u2019<\/span><\/em>) and there\u2019s a question I guess which also brings this up, from Melbourne, which is about the fantasy world and fantasy films. And I have a twist on that one \u2013 and obviously the question is \u201cHow do these fantasy films show us more about ourselves than the reality of a normal film \u2013 but also, What is it about monsters<\/span> that you think perhaps shows us about you?<\/strong><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(35:18)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Well, I think that when you see Hellboy II<\/span>, it\u2019s pretty clear which side I\u2019m on. I\u2019m definitely on the side of the Prince<\/span> (<\/span>laughs<\/span><\/em>). I\u2019m not making many arguments for his methods, but the ideas he expounds are my own ideas.<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

The ideas that we have (you know) there is some value in the iconoclastic nature of mankind and I love that we have destroyed all structures, but (you know) what we have erected in their place is pretty boring \u2013 pretty biennial. You know we, we destroy the belief in a pantheon of ancient Gods and this and that, enthrone science and logic, only to become a society that becomes concerned only by the most vulgar boring things \u2013 like Reality Shows, parking lots, shopping malls \u2013 so I do share my (the) idea that the Prince<\/span> has. In that, I guess I\u2019m pretty misanthropic. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

But I do also think that it has been always the highest humanly endeavour to create things that do not exist in real life.\u00a0 <\/span>(You know) for example; the medieval function of a Bestiary<\/span>\u00a0 <\/span>– you know people \u2013 when modern people look at a Bestiary<\/span>, many times you\u2019ll get the reaction of a chuckle or a raised eyebrow because they say \u201cLook how inaccurately they drew a Camel … or a Whale … or a Rhino\u201d. But what was beautiful about Bestiary<\/span> is in many of the (many times) is that they explained not only the biology and the morphology of the animal, but they explained the symbolic and the spiritual and magical function of that animal. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

And I do believe that Monsters<\/span> are part of the Bestiary<\/span>, the essential Bestiary of the humanity. Because much like the Angels and other creation we use them as tools to explain not only the Universe outside, but the Universe within us. As man becomes more focused or should I say \u2018F*ck You\u2019sed\u2019 (<\/span>Guillermo and Oscar laughs<\/span><\/em>) on the Inner World, Monsters<\/span> take a really interesting turn.<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

You know, the early mythology of Man is a mythology of creatures that create and destroy the cosmos. Creatures that explain the night and the thunderstorm and the break of dawn. But as man becomes sanitary, and it that actually becomes more perverse, Monsters start to reveal things about our nature. You know, Demons<\/span> and Angels<\/span>, and things that illuminate our behaviour. I think for example often much more modern mythology like that Dr Jekyll and Mr Hyde<\/span>, Dracula<\/span>, they represent particular Victorian concerns. But by the same token I think that the myth of the Vampire<\/span> \u2013 I would be willing to have a nice chat with an anthropologist, I believe that the Vampires<\/span> I think where also invented\u00a0 <\/span>to justify and elaborate and accept ultimately some cannibalistic past of mankind.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

So, there is a theory of also that Dragons<\/span> for example were forged in mans imagination by amalgamating all the predators that we fear most as a mammalian species. You know, the Tiger, the Reptile, the Bird, all in one.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

So I do think that Monsters<\/span> are one of the most intimate creations to the human Soul and that it is absolute nonsense to reject them. I think we should value more emotion and imagination and a little less logic and hard facts \u2013 because no matter what the logical party says, and the party that says that only adult concern is a the concern that has to do with logic and the real world quote\/unquote, I think that mankind is (as mankind) we are physical and spiritual beings and there is nothing in logic or in the real world that explains our spiritual side. And the only way we can concede it is through imagination and creation. So I always advocate the idea of a moral holistic much more permissive view of humanity, and that includes Monsters.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(40:30)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Wow! I think that was one of the best answers to any question to whatever the question was \u2013 we can\u2019t remember what it was \u2013 but that was tremendous. <\/span><\/p>\n

Now unfortunately we are coming to the end of our chat with you \u2013 which is terrible, \u2018cause I know there\u2019s lots and lots of people wanting to ask more and more questions.<\/span><\/p>\n

\u00a0<\/span>\u00a0<\/span><\/p>\n

\u00a0<\/p>\n

(40:54)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

I think I might come back, I promise to go there in the next couple of years and we\u2019ll do a screening of either Devils Backbone<\/span> or Pans Labyrinth<\/span> or something and we\u2019ll have an hour. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(41:02)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Fantastic!<\/span><\/p>\n

(Rousing applause from the audience)<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(41:06)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

That\u2019s a promise.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(41:08)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Now Guillermo, before you go – just in case there is a scoop for our audience in Sydney and Melbourne \u2013 I\u2019m just wondering – obviously Andy Serkis<\/span>, Sir Ian McKellen<\/span> have been chatting with you \u2013 Is there any confirmed casting or perhaps ideas or collections you can give us from the Hobbit?<\/strong><\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(41:21)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Well the only thing I can say is that we are now finally and officially and merrily in progression on the scripting process<\/span><\/strong>. We are all actively working on it and having a grand time at it. It keeps transforming and changing and it is \u2018the<\/em> most beautiful\u2019 writing experience of my life<\/span>, I\u2019m enjoying it tremendously \u2013 and there\u2019s bound to be news soon enough.<\/span><\/p>\n

There is no big revelations at this stage, except to confirm that I myself will not be playing Bilbo<\/span> Baggins<\/span>. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

(<\/span>the theatre audience and compare laughing<\/span><\/em>) <\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

That is also a promise. (<\/span>Guillermo laughs<\/span><\/em>)<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(42:10)<\/span><\/p>\n

Oscar<\/strong>:<\/span><\/span><\/p>\n

Well I think we can all be happy for that.<\/span><\/p>\n

Although I think when we hear Smaug finally say something we might listen a little bit carefully and see if there\u2019s a slight Mexican accent .<\/span><\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

(42:21)<\/span><\/p>\n

Guillermo<\/span><\/strong>: \u00a0<\/span>(<\/span>laughing heartily<\/span><\/em>)<\/span><\/span><\/p>\n

No, no. I wouldn\u2019t count on that. <\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(42:27)<\/span><\/p>\n

Oscar<\/strong>: (<\/span>laughing<\/span><\/em>)<\/span><\/span><\/p>\n

Well, strangely enough, we\u2019re all looking forward to the whispers in the dark as we\u2019ve enjoyed our conversation with you in the dark, from both Sydney and Melbourne.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Guillermo del Toro, it\u2019s been a pleasure and a real thrill I think for myself but also everybody in Australia, and we look very much forward to seeing you not only in New Zealand, but also popping over and having a chat with us live at Popcorn Taxi. And please \u2013 listen to this applause \u2013 (<\/span>Guillermo says: \u2018Thankyou\u2019<\/span><\/em>) this is not only for you, but for your wonderful, wonderful imagination. <\/span><\/span><\/p>\n

(<\/span>Cheering, clapping, whistling and stamping<\/span><\/em>).<\/span><\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

(43:05)<\/span><\/p>\n

Guillermo<\/span><\/strong>:<\/span><\/span><\/p>\n

Thank you very much.<\/span><\/p>\n

\u00a0<\/p>\n

\u00a0<\/span><\/p>\n

(<\/span>The host thanks the audience for attending, and the evening event ends)<\/span><\/em><\/span><\/p>\n

Transcription by\u00a0Elven for Popcorn Taxi & tORN<\/span><\/em><\/span><\/p>\n

\u00a0<\/span><\/p>\n

[Popcorn Taxi]<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Our friends at Popcorn Taxi have come through with the audio of their August 18 Q&A with Guillermo…<\/p>\n","protected":false},"author":57,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[497,435],"tags":[2865,460,579,221],"class_list":["post-30030","post","type-post","status-publish","format-standard","hentry","category-production-directors","category-guillermo-del-toro","tag-guillermo-del-toro","tag-hellboy-ii","tag-script","tag-the-hobbit"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p1tLoH-7Om","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/posts\/30030","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/users\/57"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/comments?post=30030"}],"version-history":[{"count":0,"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/posts\/30030\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/media?parent=30030"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/categories?post=30030"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theonering.net\/torwp\/wp-json\/wp\/v2\/tags?post=30030"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}