The Art of 'Frankenstein': Bringing Guillermo Del Toro's Dream to Life Through Production Design, Cinematography, Editing, Costume Design, and Score

For a filmmaker like Guillermo del Toro, imagining a personal fantasy project is just the beginning. With Frankenstein, he and his dedicated creative team realized a long-held ambition: to bring Mary Shelleys tale of Victor Frankenstein and his humanoid creation to the screen in a visually and emotionally rich way.

It represents the pinnacle of his work following the creatures from The Shape of Water and Pinocchio, explains composer Alexandre Desplat.

Cinematographer Dan Laustsen recalls, I first heard about Frankenstein years ago during Mimic. Guillermo spoke of it as his dream project. Reading the screenplay, I realized it was something entirely unique. Thats Guillermos way of seeing the world and thats why I love it.

Shifting Time and Tone

Del Toro decided early to move the story from the late 18th century to the 1850s. While this provided historical context, he wanted every department to go beyond strict period accuracy. We didnt aim for a classical score from the era, but something that feels connected to it while remaining modern, Desplat says. Using classical instruments like violins and flutes, the music evokes the period without being confined by it.

Designing the World

Production designer Tamara Deverell conducted extensive research into the medical and scientific tools of the era. She visited the Hunterian Museum even during renovations photographing over 3,000 references, including Evelyn tables, early anatomical preparations made from real human tissue. Guillermo insisted we study these objects to ground Victors laboratory in authenticity, Deverell explains.

Costume designer Kate Hawley drew inspiration from both Shelleys novel and Del Toros script. The script is rich with themes of religion, mythology, and untamed nature. Color and texture became tools to reflect the gothic tone and emotional depth of the story, she says. Hawley, Deverell, and Laustsen collaborated on the films color palette, from the icy blues and golds of the Arctic to the stark blacks and whites of Victors world, punctuated by Del Toros signature red, pigeon blood.

Cinematography and Light

Laustsens cinematography emphasizes the emotional journey through lighting. Warm sunlight marks the Creatures first encounter with Victor, contrasting with the cold, shadowed light in tense moments. Candlelight and blue tones are used to maintain depth and contrast, creating a visually rich narrative that mirrors the characters inner states.

Costume and Character

For the Creature, costume choices were symbolic. His wardrobe reflects his construction from the memories of others, from a coat from the Crimean battlefield to layers that mirror his evolving identity, Hawley says. Clothing shifts with his growth, illustrating his journey from isolation to learning, eloquence, and ultimately, a noble presence in his own right.

The Music of Emotion

Desplat crafted the score to mirror the Creatures emotional fragility. Despite his strength, I wanted a delicate sound the violin captures his vulnerability, his yearning for love, and the depth of his feelings, he notes.

Editing the Emotional Core

Editor Evan Schiff describes the editing process as emotionally intense, particularly in scenes of reconciliation between Victor and the Creature. Working daily alongside Del Toro, Schiff developed a cut far in advance of typical post-production timelines, incorporating temp music and visual effects during filming to create a seamless narrative flow.

Together, the combined efforts in production design, cinematography, costume, music, and editing allowed Frankenstein to fully realize Del Toros long-held vision, merging gothic atmosphere, historical nuance, and emotional resonance into a singular cinematic experience.

Author: Connor Blake