
First trailer for chilling Frankenstein adaptation filmed in Edinburgh
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info
A first trailer has been released for Guillermo Del Toro's chilling Frankenstein adaptation, which was filmed here in Edinburgh.
The movie, which is hitting Netflix in November, stars Oscar Isaac as Victor Frankenstein and Jacob Elordi as Frankenstein's monster. Cast and crew took over the capital back in September.
Mia Goth, who also stars in the film, was spotted with Del Toro on set by locals. Now, a trailer has been released - and it certainly sticks to the creepy vibe of Mary Shelley's classic novel.
During filming, actors fully clad in period costumes descended to the Royal Mile. Parts of the Canongate were closed off for filming, with horse-drawn carts and actors sporting top hats spotted making their way through the Old Town.
A group of actors were seen standing together in costume with what appeared to be blood-stained aprons - possibly a nod the gruesome story.
Local photographer Peter Fraser managed to catch some snaps of the actors while they took their breaks. He told EdinburghLive: "Guillermo Del Toro, The Director was more than happy to pose for a photograph between sets of Frankenstein, on Friday September 13.
"I also managed to some photographs of some other character actors and actresses, walking from one set to the next set, in period costume, giving a ghostly feel as they tread on Edinburgh cobbled streets once again.
Sign up for Edinburgh Live newsletters for more headlines straight to your inbox
"Guillermo Del Toro certainly brought the City of Edinburgh's past alive."
Del Toro has previously spoken of his interest in Shelley's work. He said: 'The most important figure from English legacy is, incredibly, for me, a teenager by the name of Mary Shelley, and she has remained a figure as important in my life as if she were family.
"And so many times when I want to give up, when I think about giving up, when people tell me that dreaming of the movies and the stories I dream are impossible, I think of her."
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Scottish Sun
29 minutes ago
- Scottish Sun
Meghan won't take orders from anyone – that's why her brand's in chaos & it's all her own fault, expert slams
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) ROYAL experts have slammed Meghan Markle, claiming her inability to take orders is behind the chaos surrounding her brand. The Duchess of Sussex's brand, As ever, is taking a short break after selling out all its items in just 45 minutes, according to Meghan. Sign up for Scottish Sun newsletter Sign up 1 The Duchess of Sussex revealed on a podcast that her brand is taking a short break to restock Credit: Netflix However, experts claim the quick sellout highlights chaos behind the brand, suggesting there weren't enough products to meet demand. The Sun's former Royal Correspondent and author Charles Rae said: "I'm not a businessman, but I would have thought that if you were setting up a new company, you would have enough products on the shelves or whatever is kept to satisfy the demand." Shoppers snapped up £10 jam and £22 honey from Meghan's brand — though it's unclear how many sold before the products were declared out of stock. Royal experts believe that the lack of clarity from the brand stems from the Duchess "not wanting to take orders from anyone". "My view is that it is mainly, I would say, 90 per cent Megan who's running," said Charles. He added: "Who's running the show, because this is a woman who does not want to take orders from anybody." Royal Correspondent Sarah Hewson agreed and said: "She doesn't want to let go. "And I guess, you know, she is putting her name to it. But yes, it has been chaotic." The Duchess of Sussex has promised her As Ever goods will be back in stock this month - alongside "a few new things we can't wait to show you". The about-turn came hours after she was heard telling Beyonce's mother she had decided to "just pause" until completely ready. Meghan couldn't get Beyonce so settled for her mum… but even a global star couldn't save As Ever, expert slams Meghan appeared on her own podcast on Tuesday, recorded in May, telling Tina Knowles she feared annoying customers when the first batch of her jam and herbal teas sold out in less than an hour. She said wanted to wait until it is "completely stable and we have everything we need". Meghan has since shared a photo of jam-making preparations including bowls of strawberries, raspberries and blueberries, and freshly squeezed lemons, on her Instagram stories, writing: "'June gloom?' Not over here! Because this month your favourite products are back." Her official AsEver account also posted: "To all who've been wondering and waiting, thank you! "Your favorites are returning, plus a few NEW things we can't wait to show you. Coming this excited!" The Duchess's bonus Confessions Of A Female Founder episode with Knowles was recorded on May 5, the day before Prince Archie's sixth birthday. Meghan, who celebrated Princess Lilibet's fourth birthday on Wednesday by sharing previously unseen black and white family photographs of herself with her daughter, began selling her As Ever products in April. The range includes flower sprinkles, which she used liberally during her Netflix lifestyle show, and raspberry spread, a crepe mix, wildflower honey and an assortment of herbal teas. She renamed her brand from American Riviera Orchard after running into trademark issues. It comes after Meghan Markle shared heartwarming pictures of her daughter Lilibet to celebrate her fourth birthday. And Brooklyn Beckham and Nicola Peltz have reportedly hired Prince Harry and Meghan Markle's lawyer to help protect their reputations as their family feud escalates.

Leader Live
35 minutes ago
- Leader Live
Marisa Abela and Harris Dickinson star in Audible Pride And Prejudice adaption
Bafta winner Abela, who stars in BBC Two drama Industry, will play romantic heroine Elizabeth Bennet, while Babygirl actor Dickinson will play her suitor Mr Darcy in the production, which will be released on September 9. Abela, 28, said of her role: 'Elizabeth Bennet is one of the most fiercely intelligent and iconic characters in literature, and stepping into her shoes has been an incredible honour. 'What I love about this adaptation is how it lets us hear her inner world in such a vivid, intimate way — it feels both timeless and fresh. 'Recording this with such a phenomenal cast and team was a true joy, and I can't wait for listeners to experience it.' The audiobook will also star Will Poulter as Mr Wickham, Jessie Buckley as Caroline Bingley and Bill Nighy as Mr Bennet. Dickinson, 28, added: 'Playing Mr Darcy was an amazing experience. I've always known him as this iconic character, but getting to really dive into the novel through this process gave me a whole new appreciation for him and the world. 'Being part of such a talented cast made it even better. It's a real privilege to be part of something so timeless.' The rest of the cast includes Glenn Close, who will be taking on the role of Lady Catherine De Bourgh, Marianne Jean-Baptiste as Mrs Bennet and David Gyasi as Mr Gardiner. Pride And Prejudice will be released in English, Castilian Spanish, French, German, Italian, and Brazilian Portuguese, with each version featuring a local cast. Aurelie de Troyer, head of regional content for Europe at Audible, said: 'It's remarkable how Pride And Prejudice has stood the test of time globally to be one of every generation's favourite love stories. 'Lulu Raczka's script is thrilling and conveys all of Jane Austen's energy in an engaging, modern way. 'Through the intimacy of audio, we have the unique ability to make the passion and romance truly electric and Marisa Abela and Harris Dickinson's chemistry as Elizabeth and Darcy is undeniable.' Audible says the new version is 'faithful to the original text', and features 'a unique interior perspective from Elizabeth'. The original novel was published by Austen in 1813, and has been adapted a number of times for film, television and theatre. Arguably the best known of these is the 1995 BBC TV version starring Jennifer Ehle and Colin Firth. A 2005 film adaptation starred Keira Knightley and Matthew Macfadyen. In April, Netflix announced that Olivia Colman, Emma Corrin and Jack Lowden would star in a Pride And Prejudice series on the streaming platform.


Time Out
2 hours ago
- Time Out
Sadie Sink on the vulnerability of her star turn on Broadway
At the tender age of 23, Sadie Sink is already a Broadway veteran. She made her Main Stem debut as a standby ragamuffin in the 2012 revival of Annie and later assumed the title role. A few years later, in 2015, she was a young version of Elizabeth II in The Audience. (The older version? Helen Mirren.) Since then, she has achieved nationwide fame for playing troubled teens on Netflix's Stranger Things and the Brendan Fraser drama The Whale. But none of those teens was quite as tormented as the one she currently plays at the Booth Theatre in John Proctor Is the Villain. Kimberly Belflower's suspenseful drama, directed by Danya Taymor, centers on a group of high school girls in rural Georgia who draw connections between Arthur Miller's The Crucible and sexual situations in their own lives; Sink is Shelby, a classmate who returns after a lengthy and mysterious absence. 'Shelby is one of the most meaningful characters I've ever played,' Sink says. 'It's been the thrill of my career so far.' Her star turn has earned her a Tony nomination for Best Lead Actress in a Play. We spoke with her about the excitement of Tony season, the demands of her role and the songs that help her get into character every night. In advance of the Tony Awards on June 8, Time Out has conducted in-depth interviews with select nominees. We'll be rolling out those interviews every day this week; the full collection to date is here. Interviews have been edited for length and clarity. How have you been processing the madness of Tony season? It's the biggest thing that's ever happened to me! One thing that keeps me focused is that I still have to do my job; we're still doing the show eight times a week. That's been a challenge, but also something I've been super appreciative of. And the part is challenging enough already! What do you think are Shelby's strongest qualities? Shelby is incredibly smart—that's not so obvious to other people—in a way that's beyond her years. What drew me to her was her honesty, which I think is something a lot of people struggle with. Personally, I could never be as honest and blunt as Shelby is. I was really drawn to how she can maintain that quality throughout the trauma she's suffered, and the way she carries that trauma in such a complex, beautiful, messy way. Digging into that and peeling back her layers was such a long process—and one that I feel like I didn't actually have a full grasp on until right before opening, to be honest. How has the role evolved for you over time? In rehearsal, we got into some of her wackier and nerdier sides, where she's a little bit more energetic and awkward. In previews, we stripped that back and brought back some of my initial instincts; we grounded her a bit and found places for her to relax so that the audience could see the many dimensions of who she is. I learned so much from exploring and pushing the boundaries of a character and then reeling it back in. That's all thanks to Danya; I saw her do that with every actor in this ensemble piece. What do you remember about her directing you for your big scene with Amalia Yoo's character? I think it's the most beautiful scene in the play, but I'm biased. You get to see a vulnerable side of Shelby. This scene went through many phases. It felt awkward at first; there's a wall for her in letting her vulnerability peek through, because until that point she doesn't let you see that anything is wrong. Letting that go, in a really honest way, took some time to unlock— especially when you add an audience, because we're sitting on the edge of the stage for that scene. There might be people in the audience that are just seeing Max from Stranger Things, so there's automatically a wall that I, as Sadie, am putting up. But Danya made me feel I had permission to let that down. She told me something that shifted how I approached the scene: That any choice I make, anything I say, has nothing to do with me. It's only Shelby. And if I can just be a vessel for her, then the vulnerability can open up and it can feel honest. That was so important to hear from a director—for her to call out the anxieties that I have in that area, and allow me to feel safe and protected. The play gets intense at some points. How do you get into character? There are 30 minutes in the play before I go on stage. So while everybody else is warming up, I'm not; I wait until everyone else is on stage, and that's my warm-up time. I have the space to get into character, because it's so quiet backstage. I have a few songs that are triggers, or that help me associate with Shelby. If I listen to one of those songs, then I'm good. I've been listening to 'Limp,' by Fiona Apple. I think Shelby would love Fiona Apple. Also, 'Liability (Reprise)' from Melodrama by Lorde. That's a huge one. It's weird how much muscle memory comes into play. We've done the show so many times at this point; each show feels different, but your body knows what to do and knows what you need to access at different points. That's been a huge learning curve. It doesn't get worse or less true the more you do it. It becomes second nature, and you find different things in the performance that stick out. Is there a line in the script that particularly speaks to you? This week's line was in the gas station scene. It's when Shelby says, 'I think I'm going to be super messed up for a really long time, but I don't know if I'm fully equipped to start that journey right now.' That was always my favorite in rehearsals, but it really came back around this week; it's such a mature thing for her to say but also so heartbreaking. I was emotional thinking about what the rest of Shelby's life looks like, carrying what happened to her. How do you wind down after a performance? At the end of the show, I'm so winded from that last dance. I've given all the energy I have left. I have 45 minutes in the car where I can listen to music. When I get home, I pretty much go to bed. I would be remiss to not ask you about Charles Strouse, the composer who wrote Annie and passed away recently. What do you remember of him? It was really heartbreaking to hear and made me appreciate my time in that show. I met him at the opening night party for Annie. What he did for Annie —that kind of raised me in a way. That's the legacy he created and I'm so appreciative of him. What do you remember about going on in the role of Annie for the first time, after Lilla Crawford had left the production? I'm still friends with Lilla—she's a good friend of mine. Once she left, me and another girl shared the role. I remember the first time I went on for Duffy, the first orphan I played, but I can't remember the first time I went on as Annie. I do remember a put-in that we did: I thought it was so bizarre that the casting directors showed up, and maybe [director] James Lapine and [choreographer] Andy Blankenbuehler. I later realized that that was my audition to step in as Annie. It felt very adult and very serious. I cannot believe someone trusted me to go on stage and do that. Mia Farrow, who is also nominated in your category, recently came to see your performance. How did that go? It was amazing. She did The Roommate at the Booth, so she knew a lot of the crew that worked there. She really loved the show. And I love her so much. She is so kind. I got to meet her at the Tony nominees luncheon. She was like, 'Who do you want to meet?' I said, 'Jonathan Groff.' So she introduced me—which was huge. I will never forget that. What did you say to him? I just said I was such a big fan. I think that's all I said. I hope I can meet him again soon, because I'm obsessed with him. Have you been able to see him yet in Just in Time? No, because we're on the same schedule. The weird thing is, even if you aren't on the same schedule as another show—if you have a night or an afternoon off—it's hard to get yourself to midtown to sit through another show. But I did get to see Oh, Mary!, which was awesome. Maybe you'll get to see him again at the Tonys. Who are you bringing as your date? My brother!