"I like John Carpenter. I like some of his films more than others"
About this Quote
Del Toro’s deadpan restraint is the whole point: a world-class fantasist, famous for baroque monsters and maximalist sincerity, chooses the flattest possible way to praise one of genre cinema’s patron saints. In an era where every admiration risks turning into branding, he sidesteps the fanboy crescendo. “I like John Carpenter” lands as deliberately modest, almost comically underlit - a compliment delivered in Carpenter’s own tonal register, all cool surfaces and unshowy confidence.
Then comes the kicker: “I like some of his films more than others.” It’s an obvious truth stated with surgical plainness, and that’s the subtext doing work. Del Toro is quietly rejecting the modern demand for totalizing takes: no “Carpenter is a god,” no ranked-list outrage, no purity-test cinephilia. Just taste, uneven and human. For a director often framed as a curator of genre history, the line is also a subtle flex of independence. He’s signaling allegiance to Carpenter’s worldview (working-class paranoia, practical effects, skeptical heroes) without surrendering critical judgment or pretending every deep cut is sacred text.
Context matters because Carpenter is a totem: beloved by directors, frequently mishandled by studios, celebrated for films that were once dismissed. Del Toro’s understatement reads like solidarity with that trajectory - admiration that doesn’t need hype to be real. It’s also a reminder that influence is granular. You don’t inherit a filmmaker wholesale; you pick the shots, the moods, the moves that stick, and you leave the rest.
Then comes the kicker: “I like some of his films more than others.” It’s an obvious truth stated with surgical plainness, and that’s the subtext doing work. Del Toro is quietly rejecting the modern demand for totalizing takes: no “Carpenter is a god,” no ranked-list outrage, no purity-test cinephilia. Just taste, uneven and human. For a director often framed as a curator of genre history, the line is also a subtle flex of independence. He’s signaling allegiance to Carpenter’s worldview (working-class paranoia, practical effects, skeptical heroes) without surrendering critical judgment or pretending every deep cut is sacred text.
Context matters because Carpenter is a totem: beloved by directors, frequently mishandled by studios, celebrated for films that were once dismissed. Del Toro’s understatement reads like solidarity with that trajectory - admiration that doesn’t need hype to be real. It’s also a reminder that influence is granular. You don’t inherit a filmmaker wholesale; you pick the shots, the moods, the moves that stick, and you leave the rest.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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