Professional Documents
Culture Documents
October 7, 2016
INDEXES ON
PAGES 36 & 37
By James Balestrieri
LOS ANGELES
COUNTY
MUSEUM
OF ART
Guillermo del Toro at work on his current notebook in the Comic Book Library
at Bleak House. Photo courtesy Insight
Editions.
Gallery view, Guillermo del Toro: At Home with Monsters. Photo Museum Associates/ LACMA, by
Josh White/ JWPictures.com.
Portrait of Guillermo del Toro at Bleak House. Photo Josh White/ JWPictures.com.
beauty and brutality.
Del Toros favorite monster is Frankensteins Creature,
as evidenced by the enormous head in Bleak House, sized
to match the size and height of the image as it would have
appeared on screen in the classic 1931 film that starred
Boris Karloff as the Creature. Frankenstein, to del Toro,
sums up all of human creation including filmmaking.
The Creature, like all works of art, is a patchwork of pieces constructed according to an ideal that both falls short
and, as it comes to life, exceeds its creators intentions. Elsewhere in his home, del Toro has a tableau of Karloff and his
makeup artist, transforming the actors head. The incongruity of the Frankenstein head atop Karloffs body adds
yet another layer of creative construction to what began as
a ghost story that came to Mary Shelley in a dream in 1814.
Del Toro, who began his career as a makeup artist, has a
fascination with movie magic, though he avoids computergenerated images when he can, preferring hands-on,
dream-factory effects, like those of stop-motion master Ray
Harryhausen. In life-size likeness, Harryhausen sits in a
corner of del Toros house, tickled joyously by tiny, fairy versions of his famous skeletal warriors, sown from dragons
teeth, that rise to fight the Greek heroes in the classic 1963
film, Jason and the Argonauts.
What is unique about the collection of objects in del Toros
home, and about his collecting impulse, is that they celebrate who he is, not who he wishes he were. His house,
strange as it may seem to others, is an emblem of his contentment, resembling a giant galvanic conductor or Tesla
coil that channels his creative force. Guillermo del Toro
dwells in a cabinet of curiosities that is, in fact, an alchemical battery.
By contrast, the impulse to collect oftentimes seems to
arise out of the collectors perception of an absence, an affinity with a lost, unrecoverable past sometimes the collectors own past, sometimes a very distant era. The objects
from that past, whether they are landscape watercolors,
antique fishing lures, Colonial pewter, jadeite netsuke or
anything else, make a connection, throw a bridge from now
to then, from here to there, papering over the gulf. Owning
a piece of the past is a delicious impossibility, but those of
us who love art and antiques embrace the paradox unconditionally.
When asked about the difficulties del Toro has faced in
his drive to bring Lovecrafts finest novella, At the Mountains of Madness, to the big screen, and the challenges of
recreating Lovecrafts cosmic worlds and inhabitants,
which are Cyclopean, non-Euclidean, immense and beyond
description, Salvesen replied, Del Toro grew up absorbing
literature, medical encyclopedias and art-historical texts,
alongside comic books and horror movies. His approach to
creature design and world building is correspondingly
wide-ranging. He is fascinated with the literature of magic
and occultism the persistent human quest for alternative realities, forbidden knowledge, transformation and
immorality. His knowledge of these traditions fuels his con-
Film Still from Hellboy II: The Golden Army, 2008. Universal Studios
Entertainment
LOS ANGELES
COUNTY
MUSEUM OF ART