Guillermo del Toro Hears Frankenstein

      Guillermo del Toro has evolved beyond merely directing films; he now engages with them on a deeper level. The Oscar-winning director, known for his adaptation of Frankenstein, emphasizes his exploration of faith and spirituality, crafting a unique interpretation of the legendary tale of a creature created by man.

      “You dedicate nine to twelve months to prepare a movie,” he explained to MovieMaker in early September, following the positive response to his Netflix film at the Toronto International Film Festival. “Everything has been meticulously designed, from sets to worlds—the smallest detail has your approval. What are you seeking now? You’re inviting in the unexpected.

      “You’re not pursuing perfection anymore. You want the film to feel alive, not like a mere statue. You’re inviting the subtle twitches of an eyelid, the movement of a hand. That spontaneity can only happen if you open yourself up to the experience. The film breathes through action.

      “When someone says, ‘We’re losing the sun,’ instead of panicking, you respond, ‘How can we light it? Let’s bring in candles. Let’s shoot at night. Why not?’ And sometimes, that leads to better outcomes.”

      For del Toro, these moments of uncertainty guide him on how to proceed with the film. This sensitivity was inspired by studying a cinematic giant from a different era, adopting a more adaptable approach to his filmmaking that he began to embrace a few years prior.

      Del Toro, who features on the latest cover of MovieMaker, recalls how this perspective manifested while working on The Shape of Water, particularly when observing how actor Richard Jenkins raised a cup.

      “I told Richard how much I appreciated the way he lifted that cup. He responded, ‘Did I do that?’” Del Toro remembers. “I encouraged him to repeat it. He said he would try, but I responded, ‘Forget it. Just do what feels natural, and I’ll adapt.’”

      This method contributed to The Shape of Water winning four Oscars at the 2018 Academy Awards, including Best Picture and Best Director. He employed a similar approach while choreographing scenes for the 2021 film Nightmare Alley, which also garnered him a Best Picture Oscar nomination.

      “I had Cate Blanchett and Bradley Cooper. Should I dictate their placement, or wait for them to find their positions and decide where the camera should be?” he ponders. “You have two powerful actors. Will you confine them, or let them roam free and then adjust accordingly? The latter is far more effective, which is where this adaptability began; I became more agile.”

      Reflecting on his prior directing style, del Toro admits, “I was difficult to work with.”

      Oscar Isaac, who was cast as Victor Frankenstein, shared his surprise at the relaxed atmosphere during the $120 million, 120-day production.

      “Given the meticulous visual style of his films, I anticipated a more restricted working environment,” he tells MovieMaker. “I thought I needed to create energy within tight constraints.

      “What surprised me,” he notes, “and likely surprised him as well, is that he allowed, as he puts it, the film to express itself and relinquish control.”

      A compelling contrast exists between the filmmaker and his character: Victor is intensely controlling, egotistical, and manipulative in his quest for a scientific breakthrough—a man transformed into a monster by the traumatic experiences of his youth. In trying to conquer death, his dissatisfaction with his creation taints his soul and harms those he professes to care for.

      Del Toro’s interpretation of Frankenstein highlights man’s own follies, while the Creature grapples with the consequences of his creator’s abandonment, becoming a beast only after enduring the pain of being forsaken by a selfish father.

      In stark contrast, del Toro cherishes his characters, stories, and filmmaking family so much that he trusts them to exceed his expectations. He begins the creative process by encouraging his conceptual team to explore freely for a week.

      “This is your sole opportunity to share your unfiltered ideas about the movie, so I dedicate the first week as an open trial. I don’t impose anything,” he explains. “Show me what interests you, and we’ll begin our conversation.”

      “To me, the idea of the director as dictator is nonsensical,” he insists. “The concept of the director as prophet resonates with me.”

      “The film communicates with you,” he continues, “but the rules don’t solely emerge from you or the film alone. People can ask the film if it’s okay to paint a wall red, and the film might respond affirmatively. It’s about the film’s voice.”

      Isaac recalls an early incident during the making of Frankenstein when he witnessed the film communicate with del Toro through the setting.

      When del Toro noticed the mist beginning to dissipate, he quickly adjusted his plans for a scene featuring a younger Victor, leading to an urgent makeup call and quick decisions that would significantly affect the film.

      “Originally, he was set to have a white streak in