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Repair common Windows errors and clear accumulated junk for a smoother, more stable PC - no reinstall needed.Free scan · no reinstallJacob Elordi called the transformation into the Creature “magic”: after a predawn makeup session in Toronto that he recalled lasting 10 hours, he opened his eyes to find the character there. The effect was the work of prosthetics designer Mike Hill, makeup artist Megan Many and their team—not literal magic.
What Jacob Elordi meant by “magic”
Elordi recalled meeting Hill and Many in a Toronto car park before dawn. “We’d meet in the dead of night in this car park in Toronto, and we’d all be kind of bleary-eyed. Megan would light some incense, and then magic would happen. And after 10 hours, you’d open your eyes — and the Creature was there,” he told Netflix Tudum in its behind-the-scenes feature.
The 10 hours are Elordi’s account of the transformation, not a stated average for every makeup session. His phrase captures the moment of seeing the completed character after a long application.
How the Creature’s look was built
Hill and his technicians developed a 42-piece, full-body prosthetic application for Elordi. Netflix’s feature also reports that the makeup included dentures to enlarge his teeth and a large brown contact lens that gave his face an asymmetrical appearance.
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Hill described the design as considered rather than randomly grotesque: “Victor Frankenstein is not a butcher. He’s trying to make the perfect man, so he wouldn’t make this thing look like a car accident.” The prosthetics were part of the film’s character design as well as a physical transformation for Elordi.
Appearance and performance were connected
The differing eye sizes helped shape the Creature’s contrasting visual impressions. Hill said the larger and smaller eyes supported the character’s monstrous and human sides; that was a design intention, not a guarantee that every viewer will read every shot in the same way.
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Elordi also described receiving a reading list of roughly 15 titles from director Guillermo del Toro, ranging from books about baby development and Butoh to the Book of Job and John Milton’s Paradise Lost. He said he learned about the character while filming and traced the Creature’s growth through questions directed toward a creator. The preparation placed the physical design alongside the Creature’s developing inner life.
Del Toro’s interpretation of Frankenstein
The 2025 film is inspired by Mary Shelley’s 1818 novel; it is del Toro’s adaptation, not a claim of scene-by-scene fidelity. In a Netflix Tudum feature dated November 7, 2025, del Toro said he had lived with Shelley’s creation all his life: “For me, it’s the Bible. But I wanted to make it my own, to sing it back in a different key with a different emotion.” Netflix identifies Elordi as the Creature and Oscar Isaac as Victor Frankenstein.
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Del Toro has also described Victor and the Creature as “two sides of a mirror.” In a Netflix Tudum interview published December 18, 2025, he explained that a monster and its counterpart should “have a dialogue visually.” That framing helps explain why the Creature’s appearance matters beyond shock: the design participates in the film’s relationship between creator and creation.
The same interview sets out del Toro’s stated preference for physical craft: “I think VFX should only exist where set construction, prop building, wardrobe creation cannot go.” This expresses his approach, rather than establishing that the film contains no visual effects.
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Where to watch and what to read
Frankenstein debuted at the Venice Film Festival on August 30, 2025, before streaming on Netflix, according to Netflix’s November 7, 2025 feature. Catalog availability can vary by region and change over time.
Readers interested in the source can turn to Shelley’s Frankenstein, first published in 1818. Comparing the novel with del Toro’s film offers a way to consider how each version treats the Creature, the creator-and-creation relationship, and the visual language of the story.
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