Dark Horse: Interview with Guillermo Del Toro

Uploaded by geekandsundry on Oct 3, 2012


Well, the idea with the vampires in modern fiction is
too sexy and romantic.
And that's one side of vampirism that is fine and is
great to explore.
But I think that not everything has been done
And I went back to the roots of vampirism in folklore, in
Eastern European folklore, and went more for the vampire as a
parasite or as a monster idea.
So they are not sexy.
They are not romantic.
They are not even really thinking organisms.
They are all under the control of a single mind.
And they are-- essentially their only duty as a species
is to survive.
And the idea in these novels was to explore in the first
volume, which is the first 12, 13 issues of
the comic, the biology.
And then on the next one, explore sort of the
sociological change that vampirism would really bring
our society.
And the third one is the mythology.

I think the books that most inspired me were books that
were mostly about vampirism, like Dom Augustin Calmet's
treatise on vampirism, Montague Summers' "The
Vampire, His Kith and Kin," and I think that a book I love
called "Passport to the Supernatural"
by Bernhardt Hurwood.
They all document Eastern European folklore.
So no fiction books inspired me on writing "The Strain." It
was mostly documented folklore,
anthropology, and so forth.

I think Mike has a great flexibility as an artist.
He can create great dynamic poses and great, beautiful
He really is one of the best at layout in the page.
Layout is a lost art, I think.
Everything gets too busy, really jumbled.
He has a very classic layout style that I love.
And he's capable of keeping a certain simplicity in the way
he draws the characters, but full of character, full of
And that's rare.
He is a guy that has, step by step, become his own, has
created his own style.
And I love his style.
He's really not realistic but highly expressive.
The second thing Huddleston does that I love is the way he
creates atmospheres.
He is capable of creating mood in the comic book page.
He creates sinister, suspenseful, moody moments in
the page that really convey the fear.
And they convey the atmosphere of the moment.
And that's very, very rare in comics.

We knew when we gave the story away.
Chuck Hogan and I knew that we were going to be
godfathers of these.
I had approval of every element.
And I approved every element of the comics in terms of
color palette, layout, pencils, inks, lettering,
screenplay, everything--
I mean, the script and everything.
But we knew that at the same time we were going to have
those approvals, but it was the baby now of David Lapham
and Huddleston.
They were going to create their own version of the
mythology on the books.
And we handed it away.
We didn't say, oh, it has to be like a movie or it has to
be like a book.
It has to be a comic book.
And we knew these guys were top of the line
writer and an artist.
They are really people we trust.
So we don't question or think about oh,
how will this translate?
Many times, I just am amazed at how much David is capable
of telling in so many ways with a short time or a very
small space.
And Huddleston is the same, very economical, really,
really centered.
If I was meddlesome, it would be terrifying.
It would be a disaster.
Because I'm supportive and I'm meddlesome in some time.
Here and there I do meddle.
But I meddle for the good of the book.