"(What Mexican books deserve greater attention in the United States?) I read Spanish too slowly to have any expertise here. But I do love and admire the works of Elena Garro, Elena Poniatowska and Rosario Castellanos, and, most recently, Fernanda Melchor and Cristina Rivera Garza."

"Without his walks, the evenings were not the same, and my sidewalks were full of fruit husks, peanut shells, and ugly words."

"For the majority of readers, Latin American fantastic literature operates under the tutelage of the great masters: Jorge Luis Borges, Adolfo Bioy Casares, Julio Cortázar and Gabriel García Márquez. However, although few are acquainted with their works, many women began experimenting with this genre well before their male counterparts and were the true precursors of the form, though their names remained on the shelves of oblivion, without the recognition that they deserved. María Luisa Bombal, for example, wrote the fantastic nouvelle, House of Mist (1937) before the famous Ficciones (1944) of Borges, and the Mexican, Elena Garro, wrote Remembrance of Things to Come (1962) before the publication of García Márquez' One Hundred Years of Solitude (1967)."

"There is nothing easier for my people than that quick show of grief."

"here’s a very short list of Latin women novelists I think should have been considered part of the Boom…Mexico: Elena Garro, Rosario Castellanos..."

"I wanted to start an artistic revolution to empower our neighborhood and people."

"It was a project for those who believed in us, a movement that started in the streets and out of poverty, humility and esteeming those who are viewed a less."

"I worked with kids at risk to help them get back in school and stay out of trouble."

"It is a La Raza effort, the city and the people made this story happen."

"I’m obsessed with women and Latina women. I think I’m on my seventh or eighth all-Latina play. I’m really comfortable in that world. So, if I had to say what I’m interested in exploring, it’s that—class, and how it affects Latinas and people of color."

"I feel very ni de aquí ni de allá…I’ve carried that border, that duality with me, because I’m not a full American...They can’t deny us right now…We don’t have it all, but we’ve gotten this much. We are undeniable. We are here."

"We haven’t gotten a chance to tell those stories for Latina women. If you look at what’s in the landscape right now, it’s very stuck in its lane, and I love that we have no lanes. There’s no road. There’s nothing. We start off somewhere and it just detours, regarding the characters…"

"The border is a notion too. It’s a mood. It’s a culture…after living seven years on the border, and I really was speaking in two tongues—I was dual person back then…"

"Guillermo Del Toro is the most challenging of directors in the fantasy field because he invents from scratch, or adapts into his own vision. He has made six features since his debut at 29 with Cronos, and I have admired, even loved, all of them."

"The point of being over 40 is to fulfill the desires you've been harboring since you were 7."

"[He] is, in my opinion, the new Orson Welles."

"Para mí estas cosas son como una cebolla, entre más capas descubres, más vas llorando. No hay vencedores en las guerras, sólo sangre y vencidos."

"Lo que me interesa del fascismo es justamente que es un hoyo negro de la voluntad. Es un sistema que no necesariamente es único, pero absuelve la brutalidad, absuelve la falta de moral y absuelve la decisión propia. Cuando te dicen “Tú puedes matar a esta gente porque que son judíos, rojos o homosexuales, ¡lo que sea!” En ese mundo puedes permitir una acción brutal en base a un consejo colectivo, eso es lo que me asusta."

"Lo que más interesante es en la naturaleza existen dos especies, unicamente dos especies que son expansionistas: el hombre y los insectos. Las demás especies son territoriales. El insecto es devorador, expansionista, hasta que se siegue expandiendo y no le importa. Y el hombre es así... las dos especies que van a acabar peleándose por el mundo van a ser insectos y hombres."

"There is beautiful in the grotesque."

"I never liked horses, but after this scene, I hate them. I hate them, they are nasty animals, and I hate cows. Cows are evil. Cows are absolutely evil, I tell you. They look, like, inoffensive, but they're perverted creatures, and so are horses, they are absolutely evil motherfuckers."

"We're here to entertain you while you wonder why the fuck this channel has two asshole talking while you're trying to watch your movie."

"(Seeing character with a wig which the producer insisted he try in a delete scene): "Look, that is Peter Frankfurt's fucking doing! Explain yourself! Look at that fucker! It's fucking Michael Bolton!""

"'Less is more' my ass. I mean, 'less is more' on atmospheric movies. In ACTION/horror movies, more is more baby!"

"Peter Frankfurt (producer), discussing a stuntman: "He missed being killed in that shot be literally half an inch."

"Del Toro: "Needless to say, I wanted another take.""

"Success is fucking up on your own terms."

"The carnies know they’re carnies, [t]hey don’t try to be anything else. It’s the people in the city who pretend they are judges and philanthropists and industrialists. True rot comes when you con yourself."