Podcast Summary: Fresh Air – Guillermo Del Toro would ‘rather die’ than use generative AI

Date: January 30, 2026
Host: Terry Gross (with segments by David Biancooli)
Guest: Guillermo del Toro
Episode Theme:
A deep-dive, wide-ranging interview with acclaimed filmmaker Guillermo del Toro, focused on his new film Frankenstein, its personal and philosophical inspirations, and his strong opposition to generative AI in art. The episode explores del Toro’s lifelong love of misunderstood monsters, the creative process behind Frankenstein, meditations on faith, death, and the parallels between technology and human hubris.

1. Opening & Episode Theme

• 00:13–01:55
  Frankenstein is Guillermo del Toro’s new film, nominated for nine Academy Awards.
  It’s a reimagining of Mary Shelley’s novel and the 1931 film, telling the story in part from the creature’s perspective.
• The episode will explore del Toro’s long obsession with monsters, empathy, faith, and his rejection of generative AI in creative work.

2. Early Inspirations and Personal Connection to Frankenstein

Guillermo del Toro on seeing Frankenstein (1931) as a child:

“The moment Boris Karloff crossed the threshold, I had an epiphany... I realized I understood my faith or my dogmas better through Frankenstein than through Sunday mass... I decided at age 7 that the creature of Frankenstein was going to be my personal avatar and my personal messiah.”
(03:53–04:50)

• Saw the original film after Catholic Mass; it profoundly shaped his worldview.
• Recognized religious symbolism in Frankenstein that resonated deeper than church.

3. Structure and Stylistic Choices in the New Film

Distinct chapters and visual language:

• The film is split into three parts: introduction, Dr. Frankenstein’s perspective, and the creature’s perspective.
• Del Toro was inspired by how the original novel includes a chapter from the creature’s point of view, which is rarely fully visualized.

“The three chapters were very distinct in style and very distinct in energy... The fairytale breadth of it all and the parable... it feels like a parable of the prodigal father.”
(07:22–07:59)

4. Religious Parallels and Themes

• Del Toro draws parallels between the creature, Jesus, and Pinocchio (from his own adaptation).
• Discusses myths in the Bible that inspired him, especially the Book of Job and the mystery of unexplained suffering.

“I triangulate the creature with Jesus and Pinocchio.”
(08:19–08:27)

• Del Toro, raised Catholic, describes being “exorcised” by his grandmother for his unusual interests—a recurring theme of feeling like an outsider.

5. On Artificial Intelligence and "Natural Stupidity"

• The creature is likened to AI—a being created by man, continuing with its own agency, potentially causing harm.

• Del Toro’s stance:

  “It did and it didn’t [influence the film]. My concern is not artificial intelligence, but natural stupidity. I wanted the arrogance of Victor to be similar in some ways to the tech bros... creating something without considering the consequences.”
  (11:16–11:52)

• Del Toro passionately rejects generative AI in filmmaking:

  “I am not interested, nor will I ever be interested. I’m 61 and I hope to be able to remain uninterested in using it at all until I croak. The other day, somebody wrote me an email, said, what is your stance on AI? And my answer was very short. I said, I’d rather die.”
  (12:47–13:14)

• Stresses that true artistry involves “alchemy of emotion, spirituality, and feeling”—something AI cannot replicate.

6. Death, Immortality, and Acceptance

On the creature’s immortality as a form of hell:

“I’m a huge fan of death. I’m a groupie for death. I think it’s the metronome of our existence, and without rhythm, there is no melody... it is the metronome of death that makes us value the compass of the beautiful music.”
(14:39–15:29)

• Personal trauma from his father’s kidnapping shaped his view of suffering and acceptance.
• Del Toro discusses childhood fears, nocturnal vigilance over loved ones, and how his attitudes have changed with age.

“I don’t fear it anymore. I don’t fear that anymore. I fear losing people. Yes. But me, I’m not afraid of dying, I hope.”
(15:54–17:13)

7. Wisdom from the Book of Job & Taoism

Del Toro required his cast to read Job and the Tao Te Ching:

• The creature’s plea—“why did this thing have happened to me?”—echoes Job.
• Acceptance, letting go of desire, and embracing insignificance as sources of liberation.

“The Tao says all pain comes from desire, which is absolutely true... if you don’t want more, there’s a zero that gives you peace and the same with life.”
(17:24–18:34)

8. Artistry & Film Craft — Imagery and Inspirations

On the 1931 Frankenstein film:

• The visual style (modern, German Expressionist) influenced del Toro’s work.
• Fun fact: Director James Whale sometimes spray-painted shadows for atmospheric effect.

“If the shadows on the set didn’t fall the way Whale liked it, he would spray paint them.”
(23:59–24:25)

• Del Toro’s Frankenstein creation scene is staged as a “concert” with anatomical artistry, unlike previous horror-oriented versions.

On anatomical accuracy:

• Del Toro, a lifelong hypochondriac, read entire medical encyclopedias as a child and purchased 19th-century medical texts for the film’s authenticity.
  (25:44–26:33)

Visual influence:

• Creature’s look inspired by artist Bernie Wrightson’s illustrations: “a newly minted human being,” with subtle biblical and sculptural echoes.

9. Dreams, Nightmares, and Childhood

Del Toro as a lucid dreamer:

“A lucid dream for me, or waking nightmares... you wake up in your dream in the exact environment that you fell asleep on. But there are elements that are not normal. I used to see monsters...”
(28:15–29:23)

• Childhood nightmares directly influenced scenes in Frankenstein.
• His first film experience, Wuthering Heights, blurred dreams and movies—“My first movie was part of a lucid dream. Exactly.”
  (32:02–32:39)

10. Personal History, Family, and Trauma

• Del Toro's family came into wealth after his father won the Mexican national lottery, leading to a childhood in a “castle” full of animals.
• The ransom and kidnapping of his father became a defining trauma; friends like James Cameron helped secure his father’s release.
• His father, despite wealth, instilled a strong work ethic in Guillermo.

11. On Humor, Parody, and Homage

• Del Toro adores Young Frankenstein — calling it “one of the greatest comedies ever made” and “one of the great Frankenstein movies ever made.”
• Favorite moment: “Putting on the Ritz.”
  (37:07–37:17)

Notable Quotes

• On AI: “I’d rather die.” – Guillermo del Toro (13:14)
• On death: “I’m a groupie for death. I think it’s the metronome of our existence, and without rhythm, there is no melody.” (14:39)
• On family and love: “No matter how different we were, we can love each other. And that is, again in Frankenstein.” (10:05)
• On acceptance: “The Tao says all pain comes from desire, which is absolutely true... if you don’t want more, there’s a zero that gives you peace.” (18:29)

Key Timestamps

• 03:53: Del Toro’s childhood epiphany watching Frankenstein
• 07:59: Distinct style and energy of the new film’s chapters
• 11:16: Frankenstein as a parable for AI and human arrogance
• 12:47–13:14: “I’d rather die” – stance on generative AI
• 14:39–15:29: Death and the value of mortality
• 17:13–18:34: Wisdom from Job & Tao, liberation through acceptance
• 24:25: James Whale’s spray-painted shadows
• 28:15–29:34: Childhood nightmares, lucid dreaming, inspiration for filmmaking
• 33:08–35:46: Del Toro’s family, father's lottery win, kidnapping trauma
• 37:07: Love for Young Frankenstein’s “Putting on the Ritz”

Conclusion

This episode reveals Guillermo del Toro’s profound and poetic approach to filmmaking, blending personal experience, philosophical depth, and a fierce devotion to the soul of creative work—refusing the shortcuts and soullessness of AI. It also demonstrates the intimate ties between his childhood, his faith, his traumas, and the monsters that populate his art.

Del Toro’s parting words:

“It’s been such a pleasure talking with you... Thank you for the wisdom and the careful guiding of this lengthy interview, which I adored every second of.” (37:44–38:00)