Guillermo del Toro has made it clear that artificial intelligence has no place in his creative process. In a recent interview with NPR, as reported by Variety on October 25, 2025, the Oscar-winning filmmaker said he would “rather die” than incorporate AI, particularly generative AI, into his films. "I’m 61, and I hope to be able to remain uninterested in using it at all until I croak."The Pan’s Labyrinth and The Shape of Water director likened the current fascination with AI to the “arrogance” of Victor Frankenstein, the literary scientist whose ambition drives Mary Shelley’s 1818 gothic fiction novel Frankenstein. Del Toro reportedly said, "AI, particularly generative AI, I am not interested, nor will I ever be interested."Del Toro went on to say that the real danger lies not in technology itself but in “natural stupidity,” which he called the driving force behind “most of the world’s worst features.”DiscussingFilm @DiscussingFilmLINKGuillermo del Toro says “I’d rather die” than use generative AI“My concern is not artificial intelligence, but natural stupidity. I think that's what drives most of the world's worst features”His comments arrive ahead of the release of his long-awaited adaptation of Frankenstein, which premieres on Netflix on November 7, 2025. Guillermo del Toro draws parallels between “tech bros” and Victor FrankensteinDel Toro explained that his interpretation of Frankenstein draws intentional parallels between Shelley’s protagonist and modern AI developers. As reported by Variety, he said"I did want it to have the arrogance of Victor [Frankenstein] be similar in some ways to the tech bros. He’s kind of blind, creating something without considering the consequences."The film, which stars Jacob Elordi, Oscar Isaac, Mia Goth, Christoph Waltz, and Ralph Ineson, sets the story against the backdrop of the Crimean War. Del Toro said he wanted the project to feel “operatic,” and has worked with long-time collaborators such as costume designer Kate Hawley, production designer Tamara Deverell, and composer Alexandre Desplat to bring his vision to life.This emphasis on craftsmanship is central to del Toro’s critique of AI. In Variety’s October 17, 2025, feature, he said that the film is by humans and for humans"This is storytelling. It’s not eye candy, it’s eye protein. Everything in this movie is full-scale, handmade for humans by humans."More about Guillermo del Toro’s vision for FrankensteinAs reported by Variety on October 17, 2025, the film’s sets, costumes, and effects were all handmade. From Jacob Elordi’s 42-piece prosthetic transformation to the 130-foot ship built over six months, each feature was constructed by hand, without reliance on CGI. Even the climactic lab explosion was executed using practical effects, and not through digital means.DiscussingFilm @DiscussingFilmLINKGuillermo del Toro refused to make ‘FRANKENSTEIN’ with too much digital effects & green screens“I want real sets. I don’t want digital. I don’t want AI. I don’t want simulation. I want old-fashioned craftsmanship. I want people painting, building, hammering, plastering”The production for Frankenstein has been years in the making, and del Toro has spoken openly about his long-standing desire to bring Mary Shelley’s 1818 novel to life. A major part of this vision was the costumes. Talking about Mia Goth's styling, the director said, “Elizabeth’s [Mia Goth] wardrobe represents nature. That’s why she connects with The Creature [Jacob Elordi]. She represents the Holy and the natural world. So she’s either dressed in white, which is purity."Jacob Elordi, Oscar Isaac, Guillermo del Toro and Mia Goth attend Netflix's Frankenstein New York Special Screening (Image via Getty)The film’s costumes carry deep symbolic meaning, with costume designer Kate Hawley explaining that Elizabeth’s blue dress ties her to science. The embroidery design, she said, was inspired by X-ray imagery. Hawley also explained that red, blue, and green served as the main color palette and that coordinating lighting and texture with cinematographer Dan Laustsen was an intricate process. "It took a huge amount of work to play with and how these prints and elements were going to work on different fabrics. At least 60 meters [of fabric were used] in the skirt."All this effort was to show the "ethereal nature of Elizabeth", showing just how dedicated to the vision the production was."That was all evoking the more ethereal nature of Elizabeth. When you first see her, she almost echoes an angel. She’s the angel of all things as well as death."As reported by Variety, some of the filmmaking stats that went into the production of Frankenstein are as follows-3 days of shooting in the ice fields of Northern Ontario23 locations in Canada32 UK set locations23 Ontario Set Locations119 sets24 Studio Sets3178 labour days to build the ship2830 labour days to build the lab1200 labour days to build the Tower exterior6 months to build the ship15 model sets created120 construction crew in Canada24 Set Decorating crew in Canada1252 Background costumes53 Stunt costumes68 unique costumes for the main cast54 prosthetic silicon pieces to create the Creature8 people to apply the prostheticsProsthetics applied 50 times10 hours of application for the full body prostheticsMore about Jacob Elordi’s transformation into The CreatureA major highlight of del Toro’s Frankenstein is Jacob Elordi’s portrayal of The Creature, achieved through extensive prosthetic work and practical effects. As reported by Variety on October 17, 2025, Elordi underwent a ten-hour daily transformation process using 42 prosthetic pieces, with 14 applied to his head and neck alone.Prosthetics designer Mike Hill described the creative approach to The Creature’s appearance. "What we were trying to do was almost put the inside of a human body up on the outside for all to see. That’s why the veins are shown as clear as they are."The team’s goal was to make the character feel as though he had stepped directly out of the 1800s, avoiding modern digital enhancement. Hill added that the result shows how Victor comes together."The final creature intricately shows how Victor has come together. You see the patterns where Victor’s taken this apart and put it back on and decided that’s wrong. So he’s making a man for the first time, so he’s not getting entirely correct on the first go."The prosthetics also visually represent Victor’s process of trial and error. Explaining that Jacob Elordi’s actual physique was used as the base model for the creature, Hill added"If you were going to create a man, you wouldn’t go and get 10 bodies and sew them together. You’d get the very best body you can get."Jacob Elordi at the "Frankenstein" New York Special Screening (Image via Getty)Fans can see the craftsmanship firsthand at the Frankenstein: Crafting a Tale Eternal exhibitAhead of the film’s Netflix release, London audiences were invited to experience its artistry firsthand through Frankenstein: Crafting a Tale Eternal, an immersive exhibition now open at The Old Selfridges until November 9. As reported by Variety on October 17, 2025, the exhibit showcases the film’s detailed production design, including original costumes by Kate Hawley, prosthetics by Mike Hill, and set models designed by Tamara Deverell.BFI @BFILINKStep into the world of Guillermo del Toro's Frankenstein!Frankenstein: Crafting a Tale Eternal is now open until 9 November at The Old Selfridges Hotel in London. Presented by @Netflix and in partnership with #LFF for Free.Among the items on display are rare editions of Mary Shelley’s Frankenstein, including an original 1818 copy and an 1853 illustrated version, as well as props and concept art from the movie. The exhibit allows visitors to explore del Toro’s creative process, including video clips of his collaboration with Desplat on the film’s score.Guillermo Del Toro’s Frankenstein will be released globally on Netflix on November 7, following its limited theatrical run and the London exhibition.