T* As he goes down the “subterranean river,” the explorer sees the female octopus and the ceiling littered with clusters of bones.

^{BLUE NOTEBOOK, PAGE 7B}

–Between anguish and hope, pain is the exit.

–Check out the locations for VOOI for the M.M.

–The SCARLET city in the middle of the white one.

–Green water / Scarlet and corroded walls

—Dietist: The key is to avoid eating large portions. Woman: Ah—yes that makes sense, D: Tomatoes, lettuce, celery, non-fat dairy products… W: Well-that-that’s good. But what about lunch? D: Well at lunch you can give yourself a treat. W: Sure. D: Or you’ll go crazy. W: A treat! That’s a good idea, thank you. D: You are welcome. CUT A: The woman pigging out.

—A mass hallucination. Suggestion or mass hysteria.

—An empty shell that is a ghost.

–Normally ghosts bring the living warnings or premonitions.

–The husband takes a photograph of it.

–One of the researchers is a nun.

–A ghost is visible at the edge of the photo and a phenomenon occurs that she is the only one to see.

–Record it in small NAGRA recorders to give the images depth to give a catalog to the U.

–The husband thinks that they’re radio waves or waves from a nearby CB and pleads with them to use their common sense.

–She asks for proof and it tells her: “Anna, I’m dead, tell me why?”

–An Arkham sailor

–Perhaps Pabodie, like Holly, knows how to build automatons

^AFTERWORD

AT THE MOUNTAINS OF MAGNIFICENCE

^{TOM CRUISE}

I WOULDN’T SAY AT THE MOUNTAINS OF MADNESS didn’t work out—I have worked on and postponed many films before they were finally made—it’s just going to work out when it’s supposed to.

While it was painful to watch Guillermo go through the experience of having to put on hold a project that was so close to his heart, I knew he would move on to extraordinary things, and he soon did with Pacific Rim. As I told him at the time, it’s not over, it’s just on pause for now. I’m still determined to work with him, and one day it will happen.

^{A drawing of one of H. P. Lovecraft’s Elder Things from del Toro’s Blue Notebook, Page 151.}

Over the years I’ve been fortunate to work with a lot of truly great filmmakers, and each and every one of them has their own unique tone and voice, which emanates from every frame of their films. This is particularly true of Guillermo’s work. When you look at his movies, you know instantly that you’re seeing a del Toro film, whether it’s Pan’s Labyrinth or Hellboy. His films are very much an extension of who he is and his ideas. It’s in the design, it’s in the lighting, it’s in the composition. It’s in every single creative decision. That’s what makes him an artist. It’s not analytical. It is instinctual; it permeates his work, his life. He has a vivid imagination that remains free against all odds.

Guillermo is a true artist, but he’s also a hard worker. He’s not someone who just talks the talk—he’s actively going out and making things happen, constantly striving to be better at communicating with an audience. He’s discovering what it is that interests people. He’s smart about it, and I think that’s why he’s accumulated a very faithful audience.

He’s very interested in people and hungry for life, he has no sense of self-importance or arrogance. You can always tell someone who’s very competent, because they have an ease in talking about their craft and themselves; there’s no defensiveness or overbearing confidence.

^{Lovecraftian symbols from Notebook 3, Page 30A.}

I’ve admired Guillermo’s work since Cronos, and when we finally had an opportunity to sit down and talk, we started discussing the films we could make together. At that point he was going to direct The Hobbit, but we talked about At the Mountains of Madness and another film based on a British television series called The Champions. Really the whole conversation was about movies, cinema, stories, and comic books—all the things that we both love.

Then I went to Bleak House, which is just sensational. Guillermo surrounds himself with things that inspire him and provoke him and he’s interested in so many different aspects of cinema, literature, art, and storytelling. He’s one of the most fascinating people to sit down with, and his imagination is Absolutely extraordinary. When the conversation came back to At the Mountains of Madness, I said, “Great, I’m in.” I knew the story, and the concept artwork he had created for the movie was stunning and unique.

^{A series of Cthulhu-like profiles from Notebook 3, Page 30A.}

While this project that we were both so passionate about didn’t work out the first time round, I know that it’s going to happen one day—why? Because Guillermo will never stop creating, or caring, no matter what. He will keep at it against all odds. And when it finally happens, it will be infused with all the things that make a Guillermo del Toro movie so distinct and unforgettable: images, emotions, vistas, and characters no one else creates.

Guillermo will permeate every frame of the movie in the same way that he can be found in every room of Bleak House, in every illustration of his journals, and on every page of this book. It’s a beautiful thing to witness, and I look forward to being a part of his exceptionally imaginative world.

ACKNOWLEDGMENTS

^{Guillermo and Lorenza del Toro (center, always together) surrounded by family and friends at the start of the shoot for a 16mm animated short film.}

This book represents only a fraction of the notes in my diaries and the items in my collection at Bleak House, but it offers a great start to a dialogue with those who appreciate the work that I do. We took hours of interview tapes and spent many days archiving, photographing, editing, and designing the pages you now have in your hands. It is only proper that we thank some of the people that made this book possible.

To start, thank you to all the friends and creative confidants who contributed pieces to this book: James Cameron, Tom Cruise, Alfonso Cuarón, Cornelia Funke, Neil Gaiman, John Landis, Mike Mignola, Ron Perlman, and Adam Savage.

Without the collaboration of these artists, my films and this book would not be nearly as rich: Mike Mignola, Wayne Barlowe, Oscar Chichoni, Guy Davis, TyRuben Ellingson, Carlos Giménez, Carlos Jimenez, Rob McCallum, Raúl Monge, Sergio Sandoval, Keith Thompson, Francisco Ruiz Velasco, Raúl Villares, Tanja Wahlbeck, Simeon Wilkins, and Doug Williams. The presence of their work here, of course, does not supersede the rich partnerships I’ve forged with many other artists, whom I value equally as much.