Guillermo del Toro’s ‘Frankenstein’: The Human Artistry Behind the Monster

Guillermo del Toro’s “Frankenstein” isn’t simply a reimagining of Mary Shelley’s classic; it’s a testament to the power of collaborative artistry, a meticulously crafted world built by a team deeply committed to tangible, human creation. As the film gains momentum during awards season, del Toro and his key collaborators are emphasizing the importance of that human element, particularly in an industry increasingly grappling with the rise of artificial intelligence.

Del Toro, speaking at the Sundance Film Festival, described the ideal film as “a universe you fall into; as the youth says, it’s a vibe.” Achieving that immersive quality, he explained, requires a “team sport” mentality, where every department sustains the others without ego. He likened his approach to Victor Frankenstein carefully selecting body parts, assembling a “troupe of movie magicians” with both talent and a willingness to collaborate.

That collaborative spirit is evident in the praise heaped upon the film’s key artisans: Mike Hill (makeup effects), Tamara Deverell (production design), Kate Hawley (costume design), and Alexandre Desplat (composer). All are Oscar-nominated for their work on “Frankenstein,” and their contributions are deeply intertwined, echoing one another to create a cohesive and expressive whole. Hawley emphasized this interconnectedness, stating, “We all know what everyone’s doing within the different departments, so we all echo each other.”

Hill’s mandate was to create a Creature that felt less like a special effect and more like a work of art, painstakingly handcrafted by Victor Frankenstein. The scars on Jacob Elordi’s portrayal of the Creature, Hill explained, weren’t arbitrary; they were designed to reflect the anatomical incisions made during 18th-century studies. “If the monster felt fake, we would’ve lost the movie,” Hill said, underscoring the importance of grounding the fantastical in a sense of reality. “The Creature had to feel real. Not to put down VFX, but there’s a human quality they can’t catch.”

Deverell’s role extended beyond set design to encompass a holistic vision, informed by a long-standing creative partnership with del Toro and a shared understanding of art and cinematic history. She oversaw the construction of breathtaking sets, including a fully functional laboratory complete with intricate steam and lighting mechanisms, and, most notably, a full-size Arctic ship. Despite considering existing vessels, Deverell’s team ultimately built the ship from scratch to achieve the precise look and functionality Del Toro envisioned. “To have complete creative control, there’s only one way to do it,” she stated.

Del Toro defended the ship’s scale, arguing that it wasn’t an extravagance but rather a crucial element in establishing the film’s epic scope. “It’s actually what tells the audience the scale of the movie,” he explained.

The film’s visual and emotional identity is further enhanced by the work of composer Alexandre Desplat, who sought to avoid predictable Gothic tropes. Desplat believes in drawing inspiration solely from the film itself, rejecting the use of references. “Writing music is using your imagination,” he said. “It’s not using references. It makes no sense to me…We have the film to be inspired by. That’s enough.” For “Frankenstein,” his third collaboration with del Toro, Desplat focused on highlighting the fragility of the Creature, viewing him as the film’s emotional core.

Hawley, whose work has been a cornerstone of del Toro’s visual style for decades, emphasized the importance of materiality and the “alchemy” that occurs when real fabrics and construction techniques are employed. “There’s something that happens with real materiality, real construction,” she said. “What a fabric does and performs is not always predictable, but the outcome and the potential you see in something then becomes the magic.”

As production timelines shrink and the potential for AI integration into filmmaking grows, Hawley and her colleagues are acutely aware of the need to preserve the craft of physical world-building. “We came here to build worlds,” she said. “That’s what we did as kids. That’s what we do. Here’s our church.”

Del Toro acknowledges his demanding nature, particularly when it comes to production design and makeup effects, but insists on constantly reassuring his team of their value. “They need to know that even if you are torturing them you admire them,” he said.

The film’s awards campaign has taken on an added layer of significance, with del Toro openly expressing his opposition to the use of AI in filmmaking, even adopting the rallying cry of “F— AI.” “Frankenstein,” becomes more than just a film; it’s a statement about the enduring importance of human artistry and the need to protect the creative process from mechanization. Del Toro believes art is “the last point of contact between humans” and a vital element that should never be surrendered to artificial intelligence.