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Quote by Guillermo del Toro

Work

Pan's Labyrinth: The Labyrinth of the Faun

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Author

Guillermo del Toro
Guillermo del Toro

Guillermo del Toro, born on October 9, 1964, is a renowned Mexican film director known for his unique visual style and profound thematic explorations. His works, including 'Pan's Labyrinth', 'Hellboy', and 'Pacific Rim', are celebrated for their distinctive aesthetics and deep thematic content. more

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“In order to know something, you must go back to the source. You have to be critical and wise what are the original roots and not the corrupted outcome but in order to know the truth, you have to examine all angles, all sides, all possible traces of deception, the fortress of protection of hidden elements camouflaged with what it seemed overlapping masks along a river of clear or dirty water. The water flows in varying speed depending on the atmospheric factors and men’s interventions in using the flowing water however, the stone remains. Think of the truth: many would hide it, distort it, change it, bury it, or even destroy it but the uncorrupted truth, the unparalleled truth shall always come out. How do you seek the truth? When you seek for the truth, are you guided with an honest heart? Why do you seek the truth? Or, are you among those folks who prefer to hide or bury the truth thinking that the majority won’t find it out? If and when the truth comes out, are you among those persons who will target sacrificial lambs for scapegoats? It is wise to remember that the truth however hidden shall eventually come out. A Cameroonian proverb says, "Water always finds a way out." The same thing I can say about the truth: the truth however hidden shall eventually come out. The water flows, the stones remain. The lies flow, the truth remains. The truth thrives forever." ~ Angelica Hopes, an excerpt from K.H. Trilogy”

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“Widespread criticisms of jihad in Islam and the so-called sword verses in the Quran have unearthed for fair-minded Christians difficult questions about Christianity's own traditions of holy war and 'texts of terror.' Like Hinduism's Mahabharata epic, the Bible devotes entire books to war and rumors thereof. Unlike the Quran, however, it contains hardly any rules for how to conduct a just war.”

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“Carlyle's genius was many-sided. He touched and ennobled the national life at all points. He lifted a whole generation of young men out of the stagnating atmosphere of materialism and dead orthodoxy into the region of the ideal. With the Master of Balliol, we believe that 'no English writer has done more to elevate and purify our ideas of life and to make us conscious that the things of the spirit are real, and that in the last resort there is no other reality.”

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“In employing the long sentence the inexperienced writer should not strain after the heavy, ponderous type. Johnson and Carlyle used such a type, but remember, an ordinary mortal cannot wield the sledge hammer of a giant. Johnson and Carlyle were intellectual giants and few can hope to stand on the same literary pedestal.”

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“The wind blows east, the wind blows west, And the frost falls and the rain: A weary heart went thankful to rest, And must rise to toil again, ‘gain, And must rise to toil again. The wind blows east, the wind blows west, And there comes good luck and bad; The thriftiest man is the cheerfulest; ’Tis a thriftless thing to be sad, sad, ’Tis a thriftless thing to be sad. The wind blows east, the wind blows west; Ye shall know a tree by its fruit: This world, they say, is worst to the best;— But a dastard has evil to boot, boot, But a dastard has evil to boot. The wind blows east, the wind blows west; What skills it to mourn or to talk? A journey I have, and far ere I rest; I must bundle my wallets and walk, walk, I must bundle my wallets and walk. The wind does blow as it lists alway; Canst thou change this world to thy mind? The world will wander its own wise way; I also will wander mine, mine, I also will wander mine.”

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“Buchan's less polemical evaluation of 1932, with its focus on the historical context of Scott's writing, recognised the author's virtues, but did little to change the narrative of his limitations. Beside the reminder that the author 'knew his native land as no Scotsman had ever known it before', the insight that Scott's popularity and its international extent 'has had a paralysing effect' on his critical study sounded no warning to critics determined to mark themselves separate from Scotland's supposed cultural and literary provincialism.”

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Book:The International Companion to Nineteenth-Century Scottish Literature
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