A Quote by Guillermo del Toro

I have a very promiscuous relationship with all my objects. — © Guillermo del Toro
I have a very promiscuous relationship with all my objects.
I'm interested in people's relationship to objects, so I think a lot of my work is very tactile.
until ... the promiscuous woman is recognized, not only in law but in public opinion, as being neither better nor worse than the promiscuous man, equality has not been won in the moral sphere.
You know, women are as promiscuous as men and yet, of course, people are inhibited from having an affair or a relationship because the real-world consequences are a drag.
I'm very promiscuous in my tastes.
All living languages are promiscuous. We promiscuous speakers shamelessly shoplift words, plucking bons mots and phrases from any tempting language. We wear these words when we wish to be more formal, more elegant, more mysterious, worldly, precise, vague.
You've got to remember the Cold War was a very real thing then, so the relationship with the United States was very, very important. As was the relationship that I was developing with China: that was something I did very much. And they weren't conflicting things.
So after all I am a very promiscuous free lover. I want the love of you all, promiscuously.
Our initial sensory data are always "first derivatives," statements about differences which exist among external objects or statements about changes which occur either in them or in our relationship to them. Objects and circumstances which remain absolutely constant relative to the observer, unchanged either by his own movement or by external events, are in general difficult and perhaps always impossible to perceive. What we perceive easily is difference and change and difference is a relationship.
It is clear that everybody interested in science must be interested in world 3 objects. A physical scientist, to start with, may be interested mainly in world 1 objects--say crystals and X-rays. But very soon he must realize how much depends on our interpretation of the facts, that is, on our theories, and so on world 3 objects. Similarly, a historian of science, or a philosopher interested in science must be largely a student of world 3 objects.
I wanted to make new works of very contemporary objects, which I thought was interesting because many of them are manufactured in China, but these objects are universal, they go across all languages, all cultures.
The camera machine cannot evade the objects which are in front of it. When the photographer selects this movement, the light, the objects, he must be true to them. If he includes in his space a strip of grass, it must be felt as the living differentiated thing it is and so recorded. It must take its proper but no less important place as a shape and a texture in relationship to the mountain tree or what not, which are included.
Mine is a European imagination, shaped largely by my very promiscuous reading in German, French, English and, with greater difficulty, Italian.
There are places, just as there are people and objects... whose relationship of parts creates a mystery.
Ownership is the most intimate relationship that one can have to objects. Not that they come alive in him; it is he who lives in them.
The structure underlying the phenomena is not given by material objects like the atoms of Democritus but by the form that determines the material objects. The Ideas are more fundamental than the objects.
Juggling is very, very straightforward; very, very black and white; you're manipulating objects, not people. And that's always appealed to me.
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