A Quote by Guillermo del Toro

Hellboy is the first movie where both ends of the spectrum are combined — © Guillermo del Toro
Hellboy is the first movie where both ends of the spectrum are combined
Hellboy is the first movie where both ends of the spectrum are combined.
With Hellboy I am doing a comic-book movie. That's what's so great about being an actor: You get to do Meet Joe Black, and you get to do Arrested Development, and then you get to do Hellboy and Eloise, and The Sponge Bob Square Pants Movie. It's great. You get to play the field.
I've experienced the highest of highs and lowest of lows. I think to really appreciate anything you have to be at both ends of the spectrum.
I've done movies that have mostly feminine characters and elements, and I think that both 'Heathers' and 'Truth About Cats and Dogs' are, in their own weird ways - they're different ends of the girl movie spectrum, but they're very much centered around the female characters, and I like those movies, and I like working with good actresses.
When the first 'Hellboy' series came out, in the same batch of fan mail I got a letter from somebody from the Church of Satan, and I got a letter from a minister, and they both liked it. And I thought, 'What am I doing that I'm making both these guys happy?'
I'm a lifelong movie addict, and one of my favorite projects is making replica props and costumes. Nearly every one of these - from R2D2 to Hellboy's revolver - ends with the paint job. And it's not just cosmetic. The paint literally tells a story: what this thing is made of, where it's been, what it's been used for, and for how long.
Punk and jazz are the opposite ends of the same spectrum because they are both looking for freedom and they give musicians the right to take music in their own directions.
My thumbprint is on every single thing that happens with Hellboy. It was the hardest thing I ever had to do professionally, letting someone else draw the main Hellboy comic. He's so much mine. But I still have no intention of ever handing over the writing of the main Hellboy comic to someone else. That character is my baby.
Black, white, rural, urban, Democrat, Republican, independent. People who come from both ends of the socio-economic spectrum. Male, female. Young and old alike. This is our Kentucky.
When I started the 'Hellboy' series way back when, I wasn't really thinking consciously about the humor, but Hellboy does have my personality, and that's an important part of my personality.
Red is such an interesting color to correlate with emotion, because it's on both ends of the spectrum. On one end you have happiness, falling in love, infatuation with someone, passion, all that. On the other end, you've got obsession, jealousy, danger, fear, anger and frustration.
My Hellboy is modeled on my father in some ways: a guy who's been in the Korean War, and he's traveled, and he's done a lot of stuff, and he's kind of got a been there, done that attitude. He's also been in the world. Del Toro's change was to have Hellboy bottled up in a room and mooning over the girl he can't have.
At the moment I am occupied by an investigation with Kirchoff which does not allow us to sleep. Kirchoff has made a totally unexpected discovery, inasmuch as he has found out the cause for the dark lines in the solar spectrum and can produce these lines artificially intensified both in the solar spectrum and in the continuous spectrum of a flame, their position being identical with that of Fraunhofer's lines. Hence the path is opened for the determination of the chemical composition of the Sun and the fixed stars.
I've spoken about this completely independent of this movie prior to ever being attached to this film that as a kid the first movie that I remember seeing that resonated with me was the Wizard of Oz. I think just visually the color, the spectrum of it and how fantastical it was and how much you wanted to live in that world, for a nine-year old was so magical and so grand so I have the greatest, fondest memories of it.
Because the world of this film begins and ends in the imagination of Tim Burton, you're not seeing a movie that's been shot on locations that you've seen a million times. Because this world has no rules, you're seeing so many different and separate brushstrokes and colors and characterizations somehow getting combined through Tim.
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