Guillermo del Toro’s boundless imagination, from the gothic horrors of “Crimson Peak” to the creature-feature-inspired “The Shape of Water,” has been cultivated by a lifelong love of cinema. He proudly wears his influences on his sleeves while championing the past and future of moviegoing and movie-making, as he did at a rousing recent speech at the Cannes Film Festival.
His most recent film, the show business noir “Nightmare Alley,” may have been a remake of a 1947 classic, but del Toro imbued plenty of his own sensibilities and penchant for shocking horror, luscious production design, and arch performances into the Oscar-nominated thriller.
Next up, he’s tackling another literary and cinematic classic with his stop-motion version of “Pinocchio,” premiering on Netflix later this year, and set against the rise of Mussolini. As always, del Toro adoringly looks backward at cinema as much as he looks forward. “Pan’s Labyrinth” drew from