Mike Hill Explains Monster-Free Design for Jacob Elordi’s Creature in Netflix’s Frankenstein

Mike Hill, award-winning makeup artist and special effects designer, gave an exclusive interview to Splash, from UOL, in São Paulo, this Monday (10). He detailed the process of characterizing the creature in “Frankenstein”, Guillermo del Toro’s adaptation for Netflix, premiering globally on November 7, 2025. The focus lies on the vision of a vulnerable, human figure, played by Jacob Elordi, rather than a terrifying monster.

The production, which premiered at festivals such as Venice and Toronto, explores themes of creation and abandonment inspired by Mary Shelley’s 1818 novel. Hill, Del Toro’s regular collaborator in films such as “The Shape of Water”, emphasized the intention of humanizing the character since filming began in 2024.

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The film features a stellar cast, including Oscar Isaac as Victor Frankenstein and Mia Goth in a dual role. The visual approach reflects Del Toro’s obsession with the subject, developed over decades.

Collaboration between Hill and Del Toro

Guillermo Del Toro invited Mike Hill to a breakfast in 2023 to discuss the project. The two, fans of the classic since childhood, immediately aligned their vision. Del Toro, Oscar winner for “Pan’s Labyrinth,” described the creature as a “newborn soul,” inspired by alabaster statues and Gothic illustrations by Bernie Wrightson.

Hill agreed with the rejection of vulgar elements, such as visible scars. He used 19th century anatomy references, including period portraits and dissection techniques. The director adjusted the plot to the Crimean War, allowing Victor to select soldier parts to compose the background.body.

The duo eschewed Boris Karloff’s 1931 monster look, opting for ethereal tones of ivory, pale blue and violet. Del Toro sent photos of Renaissance sculptures to guide the color palette.

Prosthetic creation process

Construction began with a 3D scan of Jacob Elordi’s body, carried out in Australia. Hill printed a full-scale replica to cast the prosthetics in medical silicone. The actor, cast nine weeks before filming, quickly adapted to the concept.

Each makeup session lasted up to 10 hours, starting at midnight. The team applied 42 pieces of prosthetics, with 14 on the face and neck. The body received detailed painting to simulate subtle junctions, like a mosaic of fabrics.

• 14 head and neck prosthetics, focusing on subtle facial expressions.
• 28 body parts, expanding muscles like deltoids to transmit controlled force.
• Silicone materials allowed fluid movements, avoiding stiffness.

Removal took 90 minutes, using an inflatable sauna to loosen the pieces. Hill praised Elordi’s patience, whoHe never complained about the long hours.

Choice of Jacob Elordi for the role

Andrew Garfield left the project due to scheduling conflicts, making room for Elordi. Del Toro saw in the 1.96m Australian actor the ideal physique for a “soldier resurrected from a mass grave”. Hill watched interview videos of Elordi, noting his relaxed and innocent posture.

The actor immersed himself in classic creature films, such as “The Bridegroom of Frankenstein”, alongside Hill. He described the process as a “metamorphosis”, entering a meditative state during application. Del Toro reinforced: “Jacob carried Mia Goth up 200 marble steps without complaining.”

Elordi embodied vulnerability, contrasting with later fury. His performance won praise at previews, with critics highlighting the character’s evolution from a “baby” to a thinking person.

Technical Characterization Details

The design avoided explicit seams, opting for seamless lines inspired by biblical crucifixions. Hill created a colorful geometric pattern to map muscle sections, like an anatomical “paint by numbers.” Pearly and violet tones simulated the translucency of exsanguinated skin.

The creature starts out bald, symbolizing birth, and evolves with hair as it learns. Period clothing, such as thick furs, was adapted for arctic scenes. The exhibition “Frankenstein: Crafting a Tale Eternal”, in London until November 9, displays sketches and prosthetics.

Hill worked in the dark, with sounds of thunder, to immerse himself in the 19th century.result: a fragile and beautiful figure, aligned with Del Toro’s vision of imperfection as holiness.

Historical influences on the look

Mary Shelley wrote “Frankenstein” in 1816, influenced by galvanic experiments. Del Toro set the film in the 1850s, incorporating scientific advances of the era. Hill researched phrenological skulls and anatomical manuals for realistic textures.

The director cited his own filmography, such as pale vampires in “Cronos” and “Blade II”, as rehearsals for this look. The creature reflects duality: horror of creation and purity of the soul.

The production used locations such as an abandoned water tower for Victor’s laboratory. The score by Alexandre Desplat, collaborator on “The Shape of Water”, adds emotional lyricism.

Evolution of the creature in the film

The narrative is divided into the perspectives of Victor and the creature, showing his journey from abandonment to self-discovery. Elordi performed early scenes like a “newborn”, with uncoordinated movements. Later, he acquires a hoarse voice, inspired by readings by Shelley.

Del Toro insisted on the absence of vulgarity, making the act of creation “beautiful”. The creature interacts with Elizabeth (Mia Goth), representing nature versus science. Its appearance changes with the environment, from dank dungeon to arctic ice.

Critics, such as Rotten Tomatoes (85% approval), praise the humanization. The film lasts 2h29min and is eligible for 2026 awards.