Guillermo’s fascination with the work and career of men like H. P. Lovecraft, Walt Disney, and Ray Harryhausen is profound, and his collection is a riot of both high and low culture. He has taken the inspiration of Forry’s Ackermansion and created Bleak House, his own private kingdom filled with items both sacred and profane. That Mexican kid has grown up into an author, artist, and world-class filmmaker. Forry would be proud.
THE ART ROOM
As everywhere, the Art Room contains items both expected and unexpected. True to its name, this is where Guillermo keeps books on art and photography; one cabinet also holds biographies. Guillermo ticks off the accretions gathered from auction catalogues and galleries around the world, then he points to a sculpture and explains, “This is a Victorian casting of an old lady’s skull made in bronze. These are masonic lenses, to read their secret documents.”
A few items from Guillermo’s own work are sprinkled into the room’s arrangement. “This is the Abe Sapien box in Hellboy,” he notes, “and that’s a mask for Hellboy II that was never used in the movie.” Nearby rest the seed that hatches the elemental in Hellboy II and a maquette of an albino penguin for the as-yet-unmade At the Mountains of Madness.
Throughout the house, these juxtapositions and arrangements provide tangible evidence of the dance in Guillermo’s life between his inspirations and formative experiences and what he himself creates. These influences span from childhood to the present day. “This is the original art by Richard Corben for a poster I had on my wall as a kid,” Guillermo points out. “I really loved it, and I hoped to one day own the original art.”
The guardian of the Art Room is Thomas Kuebler’s hyper-realistic sculpture of Johnny Eck from Tod Browning’s Freaks. Though in its totality the house seems filled with spirits and presence, Guillermo says this was literally true for one particular object: “This cabinet came with a ghost. It was here for a while. So my mother cleansed the house, and now it’s gone.”
THE STEAMPUNK ROOM
Adjacent to the Art Room is what Guillermo calls the Steampunk Room. Here, he gestures to another familiar figure from Freaks: “That’s Koo Koo the Bird Girl.” Nearby is Hans, the homicidal dwarf, from the same movie, both sculpted by Thomas Kuebler.
The Steampunk Room contains a supernatural bestiary: Along with a figure of Lovecraft’s Cthulhu and a morlock from George Pal’s The Time Machine is a superb figure of Oliver Reed as the Werewolf, from the Hammer Films production. “My favorite werewolf in history,” Guillermo notes. “Roy Ashton’s design is almost like a cubist painter’s. It has that square head. There’s something ridiculously beautiful about it. And savage—Oliver Reed is an animal.”
Here, too, are Hellboy’s original coat and Rasputin’s robe from Hellboy, plus art by Mike Mignola for Pan’s Labyrinth. Prints by the brilliant French artist Moebius grace the wall and more art books line the shelves. “At the bottom,” notes Guillermo, “are all the symbolists,” and perhaps most important of all, “the encyclopedia of art I read as a kid.”
Two more of Guillermo’s heroes have strong presences here—James Whale and Ray Harryhausen. “This is an original drawing by James Whale,” Guillermo comments. “And that’s a brush from his paint kit.”
A sweep of his hand takes in model kits, a skull clock from the 1700s, Japanese netsukes, representations of the Gill-Man from Creature from the Black Lagoon, and finally an odd little container—a vial of blood from Steve Brudniak, an artist who sells his own blood as art. “We all do,” Guillermo notes.
THE STUDIO
Guillermo renovated Bleak House’s garage to serve as his art studio, where a quote from Albert Einstein sets the tone: “Imagination is more important than knowledge.”
The Studio is the most utilitarian of all the rooms in Bleak House. It’s where Guillermo invites concept artists to work together on his projects. “Normally it’s empty,” Guillermo notes. “But when I bring people in for preproduction, it can accommodate up to eight artists without any problem.”
On display in this room are some of Guillermo’s many awards—“The Hugos, the Nebula, Mexican Oscars,…”—along with mementos from fellow filmmakers. Of one, he remarks, “This is a letter from Miyazaki, thanking me for a book I sent him.”
However, most of the inspirational items in the Studio are meant to be directly related to the work at hand: storyboards and concept art from Guillermo’s films, which line the walls in greater quantity here than in the rest of the house. There is art from Cronos, Devil’s Backbone, Mimic, Hellboy, Hellboy II, and more. An illustration from Pan’s Labyrinth bears the inscription “In our choices lies our fate.” Maquettes and props are scattered about, along with terrific presentation boards from the unmade At the Mountains of Madness. Indicating a figure, Guillermo comments, “That’s one of the guards from Hellboy II with a crushable head, so you can see the dented portions. Mr. Wink grabs it and crushes it. So we had a wire inside. You pull that, and the head crushes in.”
The framed insignia from Guillermo’s company, Mirada, is prominently featured: “We wanted to make it sort of a baroque little piece that has death, rebirth, imagination represented by imaginary animals, octopuses—which we all like—and dragons. The owl is the gaze and the wisdom to look at things a different way. The company name, Mirada, means ‘the gaze.’”
THE STAIRCASE
At the far end of the Foyer, a winding staircase leads to the second floor. Upstairs are the Screening Room and the Comic Book Library. As we reach the landing, Guillermo points to an image and says, “This is the first concept drawing of Hellboy we ever did.” Next to it are illustrations by classic fantasy illustrator Hannes Bok, an original cel from the landmark 1914 Winsor McCay cartoon Gertie the Dinosaur, and a Ron Cobb design for Aliens, which was given to Guillermo by James Cameron. Continuing the Alien theme is artwork by H. R. Giger.