Loving Monsters Directors Note

May 20, 2013

There is struggle at the heart of this film – between the freedom to love as one pleases and the desire to possess completely. The monsters of the title are raised by the feelings of jealousy and insecurity which invade and distort happiness. The contrast between the passionate beauty of the teenage love story and the monsters that appear to Mary is one of the major excitements of filming the piece. That is why I have asked a designer of Alexandra Byrne’s talents to be the costume designer so together with the production and effects designers we can create the visualisation of these emotions that haunt Mary. When the audience sees with her eyes they should share her terror at the monster she becomes and makes others become. When her hands become talons it is only when she looks at them that we see the scales, with them hidden behind her back they become normal. What this film lays bare is the tormented soul that was able to create the horror of Frankenstein.
I love that this love story is in the best tradition of all road movies – a quest for the unattainable. The emotional journey unfolds through the elopement of the threesome, travelling from London to Chamonix – a fantastic and changing landscape from city, to pastoral to mountainous – to set the unfolding psychological conflicts against. Although this journey took place at the beginning of the nineteenth century the whole feel, look and relevance of the film is for now. This is a modern love story.
I am very experienced in drawing raw and truthful performances from actors and this script gives me the opportunity to work with three young actors to produce emotionally and sexually charged performances that reflect the passions of these revolutionary runaways.
The delight of this film is that the interior emotional journeys of Mary, Shelley and Claire are perfectly expressed through the exterior action and visual effects. Through the physical action, the choice of locations and style of shooting, I will tell a gripping story and involve the audience with the human conflicts that lie at its heart and speak to them about feelings they experience now.

Sue Dunderdale