""I saw the resurrection of the flesh, the immaculate conception, ecstasy, stigmata. Everything made sense," del Toro says. "I understood my faith or my dogmas better through Frankenstein than through Sunday mass.""
""I'm a huge fan of death. ... I think it's the metronome of our existence," he says. "Without rhythm, there is no melody, you know? It is the metronome of death that makes us value the compass of the beautiful music.""
""It has a very Byronian, very doomed, very Wuthering Heights sort of look of a doomed hero. And when he's first born, and is bald and almost naked, I wanted it to feel like an anatomical chart, like something newly minted. ... The head is patterned after phrenology manuals from the 1800s. So they have very elegant, almost aerodynamic lines. I wanted this alabaster or marble, statue feel, so it feels like a newly minted human being. And we"
Guillermo del Toro experienced a formative epiphany watching the 1931 Frankenstein at age seven and adopted the creature as a personal avatar and messiah. His filmography includes Pan's Labyrinth, Nightmare Alley and The Shape of Water, which won four Oscars. The new Frankenstein retells Mary Shelley's 1818 novel by presenting the final part of the story through the creature's point of view. Recurring themes include misunderstood creatures, men who behave like monsters, and science gone awry. Del Toro expresses a deep fascination with death and the paradox of everlasting life. The creature's design draws on Byronian and Wuthering Heights tropes and 19th-century phrenology to create an alabaster, newly minted statue aesthetic.
Read at www.npr.org
Unable to calculate read time
Collection
[
|
...
]