Issue link: https://digital.copcomm.com/i/1541514
F R A N K E N S T E I N | P E R S P E C T I V E 6 5 historical accuracy, stay grounded in the "real world." I believe that is how we complement each other's visions, and how, together, we successfully bring about a new world to the audience that is both elegantly far-reaching and, at the same time, rooted in historical reality. The Horisont My early days on Frankenstein, as Guillermo polished the script, were spent re-reading Mary Shelley's book and delving into historical research on the time period, from the science of the time to the early industrial revolution to the details of Victorian social norms. Knowing that we needed to find or build a ship, more specifically, an Arctic exploration vessel, I immersed myself in every aspect of shipbuilding of the 1800s, from articles and books on the history of Arctic exploration vessels to visits to antique ships in maritime museums from Canada to the U.K. When Guillermo decided to set our story in a later period than Shelley's novel, into the late 1800s, it opened up additional research avenues. As an Art Department, we immersed ourselves in the true story of Franklin's lost expedition of the Terror and the Erebus. These were two famous Arctic exploration vessels that became icebound in 1848 en route to the Northern Passage. In order to fully realise our vessel, I devised a kind of Wikipedia-style document about our fictional ship, the Horisont. Guillermo both chuckled at and applauded my B. TOWER LABORATORY. INTERIOR SET BUILT ON STAGE AT PINEWOOD STUDIOS, TORONTO. SET PHOTO. C. CREATURE'S CELL IN LAB TOWER. SET PHOTO BY KEN WORONER/NETFLIX. C B