Mike Hill, a sculptor known for his monstrous creations, caught the eye of filmmaker Guillermo del Toro years ago. Del Toro, impressed by Hill's work, reached out to commission a sculpture of Boris Karloff from the 1931 Frankenstein film. This marked the start of a long collaboration, with Hill designing creatures for del Toro's films like Nightmare Alley and The Shape of Water.

When del Toro began working on his own version of Frankenstein, Hill was initially left in the dark. He worried that del Toro had forgotten about him, but the filmmaker had a surprise in store. Del Toro invited Hill for breakfast and made it clear that the project depended on his involvement. Hill agreed, and the two set out to create a new look for the iconic monster.

Designing a fresh take on Frankenstein's creature was no easy task. The 1931 version, with its distinctive makeup by Jack Pierce, is deeply ingrained in pop culture. Hill and del Toro worked together to create something unique, avoiding heavy stitching and focusing on a more human appearance. Hill drew inspiration from 18th-century surgery techniques to create a creature that looked like it was built in the 1800s.

The design process was challenging, especially in the early stages when there was no script or cast. Hill spent eight months designing prosthetics for an actor who eventually left the project. Del Toro then suggested Jacob Elordi for the role, and Hill was immediately drawn to his physicality and bone structure. The final design involved 42 prosthetic pieces and required around 10 hours in the makeup chair.

One of the most impressive aspects of the design is how it evolves throughout the film. Initially, the creature is bald and nearly naked, symbolizing his innocence. As the story progresses, the creature grows his hair and dons a long cloak, transforming into something more menacing. This evolution is subtle yet dramatic, showcasing the power of design in storytelling.

For Hill, working on Frankenstein was a dream come true. He has been creating monsters since he was a kid, and Mary Shelley's story has always been a major influence. Collaborating with del Toro on this project was a perfect match, allowing Hill to bring his unique vision to life. Despite the initial stress of waiting for del Toro's call, Hill is glad he took on the challenge.

FRANKENSTEIN ADAPTATION

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