Guillermo del toro’s long-gestating Frankenstein finally reached audiences this fall, premiering in Venice in August before bowing globally on Netflix on Nov.7. It’s the fifth collaboration between del Toro and Danish cinematographer Dan Laustsen, a partnership that began on Mimic (1997) nearly 30 years ago and has included Crimson Peak (2015), The Shape of Water (2017), and Nightmare Alley (2021). “It was just like coming back to a brother,” Laustsen says of reuniting with the director after long gap between Mimic and Crimson Peak. “We have the same feeling about light, about colors. We’re not afraid of the darkness.”
Del Toro had been talking about making his Frankenstein for decades. But it wasn’t until Nightmare Alley that the project took firm shape. When Laustsen finally read the script, del Toro’s take on the monster classic surprised him. “I was like, ‘Oh, this is a very, very special twist.’ For me, it’s a movie about love and forgiveness. It’s a love story. Not a horror movie.”
Visually, del Toro and Laustsen built the film around a stylized contrast of “amber and steel blue,” with moody single-source lighting and sweeping camera moves across Tamara Deverell’s cavernous sets. Laustsen insisted on shooting the entire production on the Alexa 65 – including all Steadicam work – for what he calls a “much more stunning image.” That choice, combined with wide-angle Thalia Leica lenses, allowed the film’s signature deep-focus staging: “We can start with a big wide shot… and then end up in a close-up in the same shot. it’s like shooting 70mm in the old days.”
In keeping with del Toro’s preference for in-camera craft, Frankenstein relied heavily on physical builds and practical effects. “There’s not one scene shot on blue screen,” Laustsen notes. miniatures were used for the castle explosion and collapsing laboratory; the ship was built full-scale on a gimbal; and torchlight remained entirely real. Even the creation sequence – a complex blend of sunset,rain,smoke and lightning – was engineered practically. Designing it, he admits, “was a challenge,” but “in the movie, obviously, it looks pretty okay.”
Laustsen spoke with *The Hollywood R
Illuminating Darkness: Cinematography and Vision in Frankenstein
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The visual language of a film begins long before cameras roll, often with a deep dive into color and mood. For cinematographer Rob Hardy, collaborating with director Guillermo del Toro on Frankenstein started with precisely that – mood boards meticulously crafted by del Toro, outlining the amber and steel blue palette for each scene. “He makes a sketch of the scene, and he’s color-correcting that,” Hardy explains. “It’s a guideline for everybody: for costumes, makeup, hair, and myself. So we are starting on the same level.” This shared understanding, built over numerous collaborations, allows them to embrace a stylistic preference for darkness and single-source lighting, drawing the audience into the shadows.
A key technical decision for Frankenstein was committing to the ARRI Alexa 65 camera for the entirety of the production.While Nightmare Alley utilized both the Alexa 65 and Alexa LF (the latter for Steadicam shots due to weight limitations), Hardy wanted the consistent aesthetic of the larger format. “I wanted to do the whole movie on the 65, because I think it’s a much more beautiful image, especially as we’re shooting large format,” he says. After collaborating with Steadicam operator James Frater, they successfully adapted the rig to accommodate the 65, pairing it with Thalia Leica lenses capable of covering the large sensor.
This commitment to large format directly influenced the film’s visual approach, notably the extensive use of wide-angle lenses.”We just like the drama of it,” Hardy notes. “When we are shooting wide angles, you’re coming into the action, you’re not standing back. We like to go in there, in the Orson Welles way, coming into the action, into the drama.” The dynamic camera movement allowed for aspiring shots,beginning with expansive views of Tamara Deverell’s sets and Kate Hawley’s costumes,then seamlessly transitioning to intimate close-ups – all within a single take and without noticeable distortion thanks to the large sensor. “It’s like shooting 70mm in the old days. Like Lawrence of Arabia. Your negative is so big, so the wide angle is a 24mm, such as. But that’s not a super wide angle.”
Though, the Thalia lenses’ exceptional sharpness presented a challenge when capturing skin tones.Hardy’s solution was a return to classic techniques: employing a diffusion filter inside the camera. “We shoot with a diffusion filter inside the camera. Like in the old days, when you’d put a nylon stocking in front of the lens.” This placement avoided unwanted filter flares, a concern given the film’s frequent shooting directly into the sun. Actually, embracing lens flares was intentional, representing the creature’s first experience of the world as a sunrise.”We have this idea that the first time the creature sees the world is like he’s seeing the sunrise. We’re shooting into the sun all the time. So we get a lens flare, but not a filter flare.”
Lighting and Practical Effects in ‘Frankenstein’
The distinctive color palette of “Frankenstein,” featuring amber and steel blue, was a intentional choice to enhance the visual storytelling. The amber tones were specifically used to simulate the effect of firelight, even when candles weren’t the primary light source. Rather, candles served as props, illuminated from the same direction as the main lighting, with the amber creating the desired fiery ambiance.This was then contrasted with steel blue light emanating from windows or other sources. This contrast was intentional, moving away from a monochromatic look to create dynamic lighting throughout the film.
Guillermo del Toro prioritized in-camera effects, but visual effects were still employed strategically. The castle explosion sequence, for example, utilized a miniature set filmed in London with visual effects supervisor Dennis Berardi. Similarly, the collapsing lab scene featuring falling batteries relied on practical miniature effects, a detail frequently enough unnoticed by viewers.Sets were meticulously built by Tamara, contributing to the film’s tangible feel. Even the ship seen in the film is a physical prop.
While landscapes often incorporated real snow, visual effects were used to extend them, creating environments like the North Pole or vast oceans. Sky replacements were also utilized to enhance certain scenes. Notably, the filmmakers avoided the use of blue screen entirely, opting for practical effects whenever possible – a preference shared by both the cinematographer and del Toro. All props were real, contributing to the film’s grounded and immersive quality.
The world has changed. It is changing.
I saw the film on IMAX in London some days ago and it was fantastic. The beauty of moviemaking is you have this art form with a crew working together and then you’re sitting in a cinema and you feel everybody around you has the same feeling watching the movie as you did when you made it. I think that’s beautiful.
The Power of Collective Cinematic Experience
The statement highlights a core element of the enduring appeal of cinema: the shared experience. While streaming services and home entertainment have become increasingly popular, the communal act of watching a film in a theater – particularly in a format like IMAX – offers a unique emotional resonance. This is due to several factors, including the immersive quality of the large screen and sound system, and the psychological impact of experiencing a story alongside others.
The Role of Technology in Enhancing Immersion
Formats like IMAX are continually evolving, pushing the boundaries of cinematic immersion. IMAX technology focuses on delivering crystal-clear images,powerful sound,and a larger field of view,all designed to draw the viewer deeper into the film’s world. This technological advancement directly contributes to the shared emotional experience described,as a more immersive presentation amplifies the impact of the storytelling.
The Collaborative Art of Filmmaking
The quote also emphasizes the collaborative nature of filmmaking. Creating a movie is a complex undertaking involving hundreds of individuals – from writers and directors to actors, cinematographers, editors, and sound designers. The success of a film relies on the harmonious integration of these diverse talents. The feeling of shared emotion in the cinema is, in a sense, a validation of this collective effort. The filmmakers’ intent is realized when the audience responds in the way they hoped,creating a powerful connection between creator and viewer.
The Changing landscape of Film Consumption
While the theatrical experience remains significant, the way people consume films has dramatically changed in recent years. The rise of streaming platforms like Netflix, Disney+, and Max has provided audiences with unprecedented access to a vast library of content. This shift has led to debates about the future of cinema, with some predicting the decline of movie theaters. However, as the original statement suggests, the unique qualities of the theatrical experience – particularly the shared emotional connection – continue to draw audiences.
The Hybrid Future of Film
The future of film is likely to be a hybrid model, where theatrical releases coexist with streaming options. Many studios now employ a “windowing” strategy, releasing films in theaters first, followed by a release on streaming platforms. This approach allows studios to maximize revenue while catering to different audience preferences. The success of this model will depend on continued innovation in both theatrical technology and streaming content.
Key Takeaways
- The shared emotional experience in a cinema is a powerful aspect of the art form.
- Technological advancements like IMAX enhance cinematic immersion.
- Filmmaking is a collaborative process, and audience response validates the creators’ vision.
- The film industry is undergoing a significant shift in consumption patterns due to the rise of streaming.
- A hybrid model of theatrical releases and streaming is likely to define the future of film.
As the world continues to change, the fundamental appeal of storytelling will endure. Whether experienced in a grand cinema or in the comfort of one’s home, the power of film to connect us, move us, and inspire us remains undiminished. The industry will continue to adapt,seeking new ways to deliver compelling narratives and foster a sense of shared experience in an ever-evolving media landscape.