A Quote by Guillermo del Toro
I love monsters the way people worship holy images. To me, they really connect in a very fundamental way to my identity.
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The way I love monsters is a Mexican way of loving monsters, which is that I am not judgmental. The Anglo way of seeing things is that monsters are exceptional and bad, and people are good. But in my movies, creatures are taken for granted.
If we haven't learned to be worshipers it doesn't really matter how well we do anything else. Worship changes us or it has not been worship. To stand before the Holy One of eternity is to change. Worship begins in holy expectancy, it ends in holy obedience.
Images are really powerful. People fall in love with images, and as a way of falling in love with someone because they're like an image.
My dream is that people will find a way back home, into their bodies, to connect with the earth, to connect with each other, to connect with the poor, to connect with the broken, to connect with the needy, to connect with people calling out all around us, to connect with the beauty, poetry, the wildness.
Because Bin Laden's culture doesn't permit the worship of images, they understand how powerful images are. We wouldn't have thought of creating a visual bomb. In a way, he's chopped down two iconic buildings, and used our very truth imagery, to express himself. It's fascinating... I mean, dreadful.
You know I think so many of us live outside our bodies. My dream is that people will find a way back home, into their bodies, to connect with the earth, to connect with each other, to connect with the poor, to connect with the broken, to connect with the needy, to connect with people calling out all around us, to connect with the beauty, poetry, the wildness.
I was way into 'Voltron,' Ray Harryhausen: anything with giant monsters, I was really into. Even dinosaurs - for a while, I wanted to be a paleontologist. So it's almost like primal, ancestral mythology to me, this fascination with monsters.
But I'm mindful in a free society that people can worship if they want to or not. You're equally an American if you choose to worship an Almighty and if you choose not to. If you're a Christian, Jew or Muslim you're equally an American. That's the great thing about America is the right to worship the way you see fit. Prayer and religion sustain me. I receive calmness in the storms of the presidency. I love the fact that people pray for me and my family all around the country. Somebody asked me one time, how do you know? I said I just feel it.
The only secret behind why SidNaaz is still a thing is because it is genuine. We shared a pure relationship. I think people connect to that. The way he adored and showered love on me, I really felt nice about it. We both had same sort of feelings for each other. It was very cute.
My work is basically images set to my particular voice. It's the way the images rhyme and the rhythm. It's a way of economical storytelling for me.
There's definitely a melancholic ingredient in our concerts in the United States versus in other places. Many times people feel far away from their place of origin, from their traditions, from their people. And in a way, Café Tacvba's music brings them memories. It seems to connect them with all that they miss, because the concerts are very emotive and have lots of energy. We're very fortunate to have our music connect in that way.
Being honest about where you come from and what your story is is the only way to connect to other people, to really connect with them.
Our Holy Father... is very clear that, of course, the teachings of the Church must be preserved and passed on. However, we need to do this in a way that the Holy Father says is creative. We need to do it in a way that we look for new strategies that address the hearts of people.
When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.
There are some superficial things that connect me to the stream. There's instrumentation, there's timbre, use of electronics, the way that samples are used, the way the electric guitar is used. I'm thinking of things that are particular to this era. But I don't always feel particularly close to the music of my peers. I often feel that I have more in common with writers and visual artists. I try to connect to people in an emotional kind of way.
I love monsters. If I go to a church, I'm more interested in the gargoyles than the saints. I really don't care much about the idea of normal - that's very abstract to me. I think that perfection is practically unattainable but imperfection is right at hand. So that's why I love monsters: because they represent a side of us we should actually embrace and celebrate.
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