Guillermo del Toro’s mind seems like its own “cabinet of curiosities,” as the innovative filmmaker always pushes the envelope of what’s possible in entertainment. With a fascination for the fantastical, del Toro’s work uses unusual situations to tap into our collective experience and psyche. Now, as fans prepare for his take on Mary Shelley’s iconic horror story “Frankenstein” coming to Netflix this fall, all eyes are on how the famed writer-director will transform this well-known tale into a parable for modern times.
As the hype begins to mount, many actors might also be wondering how they, too, can become part of his next creation. In this guide, we’ll explore what goes into del Toro’s casting process, including what he looks for from all his actors and what role his go-to casting director plays when assembling the ideal ensemble.
JUMP TO
- What are Guillermo del Toro’s most famous movies?
- Who are the primary casting directors behind Guillermo del Toro’s productions?
- How does the casting process work for a Guillermo del Toro production?
- Where can you find casting calls and auditions for Guillermo del Toro’s projects?
- What are the best audition tips for landing a role in a Guillermo del Toro production?
When it comes to filmmaking, del Toro does it all—writing, producing, and directing. Here are just some of the notable films he’s written and directed during his remarkable career:
- “Mimic” (1997)
- “Hellboy” (2004)
- “Pan’s Labyrinth” (2006)
- “Pacific Rim” (2013)
- “Crimson Peak” (2015)
- “The Shape of Water” (2017)
- “Nightmare Alley” (2021)
Beyond that, del Toro has adapted a number of existing stories for the screen, including his soon-to-be-released rendition of “Frankenstein.” He has written the screenplays for some of Hollywood’s biggest adaptations, such as:
- “The Hobbit: An Unexpected Journey” (2012)
- “The Hobbit: The Desolation of Smaug” (2013)
- “The Hobbit: The Battle of the Five Armies” (2014)
- “Scary Stories to Tell in the Dark” (2019)
- “The Witches” (2020)
- “Guillermo del Toro’s Pinocchio” (2022)
Guillermo del Toro's “Cabinet of Curiosities” Courtesy Netflix
Del Toro has worked with some of the industry’s top casting directors—including Kerry Barden (“Mimic”), Jeremy Zimmermann (“Hellboy”), Sara Bilbatua (“Pan’s Labyrinth”), Margery Simkin (“Pacific Rim”), Rich Delia (“Scary Stories to Tell in the Dark”), and Mary Hidalgo (“Guillermo del Toro’s Pinocchio”)—but Robin D. Cook remains a repeat collaborator, as the two have partnered together on “Crimson Peak,” “The Shape of Water,” “Nightmare Alley,” and his upcoming “Frankenstein” adaptation over the past decade.
Cook told us she gets “nervous before every audition, before every casting session,” like an actor, because she wants to see them succeed just as much as they do. “Here’s the thing about auditions: Those actors represent who you are and what your vision is,” Cook said. “I’m trying to show Guillermo what I have interpreted from what he’s looking for. Those actors represent me. So I want everyone to succeed. Because the better that the actor is, you know, I’m a hero! It goes both ways.”
“Shape of Water” Courtesy Fox Searchlight Pictures
As del Toro explained at the 2019 Tribeca Film Festival, “Fifty percent of directing is casting. The way I cast is the eyes. I ask myself, ‘Is there life, experience, intelligence, cruelty, compassion in those eyes?’ That, you get in the first meeting. Film is a symphony of eyes—the essence of the character exists there.” That’s probably why he spends much of his time writing for specific actors.
“When he’s on a film or series, he writes for people,” Cook said. “So, you know, I can’t take the credit for Cate [Blanchett] or Toni [Collette]. That’s Guillermo. Same with Sally [Hawkins] in ‘The Shape of Water.’ He has the most intense, insane, brilliant vision. And everybody always wants to come play with him. I don’t know if he’s talked about this, but he watches everything: all the film, all the TV—he is astonishing. Sometimes, Guillermo will mention somebody that I don’t even know. So always, I can bring an actor up and he’ll know exactly what I’m talking about.”
But if you get the chance to audition for Cook, she asks only that you mirror her passion for the business. “Just enjoy it, truly. You have to have a passion for it. It is a life; it is all-consuming; it’s not just a hobby,” she said. “Honest to God, I would do this for free. I tell very few people that! And I think that you have to have that same mindset—just feel so lucky and blessed. Go in knowing how lucky we all are.”
For Doug Jones, who has embodied a number of del Toro’s iconic creatures—such as Fauno in “Pan’s Labyrinth” and Amphibian Man in “The Shape of Water”—creating a sensual sea creature in the latter film wasn’t an easy feat. But as del Toro said, effectively bringing any story to life comes down to who you’ve entrusted to become the given character.
“Working with actors, I think that there is a moment of great humility, where you really put yourself in the hands of the actors,” del Toro told Backstage. “The director and the audience are embassies on two sides of the Atlantic. The actors are the couriers that are going to deliver, or not, the drama of the film. The rest of the departments can work beautifully. The camera, the set, and the wardrobe, and they could all cooperate into creating a beautiful movie. But ultimately the connection between the embassies of audience and director is the actors.”
“Nightmare Alley” Courtesy Searchlight Pictures
While del Toro’s “Frankenstein” will debut on Netflix in November 2025, the writer-director has two other projects in preproduction at the moment: “The Buried Giant” and “Scary Stories to Tell in the Dark 2.”
Neither film appears to be casting at this time, but we recommend keeping an eye open for random calls as del Toro’s “Frankenstein” issued a number of notices for extras in Canada, including for child actors and men. However, because of the high-profile nature of del Toro’s work, we suggest securing representation if you haven’t yet, since an acting agent will have the inside scoop on what’s casting right now. You might want to bookmark our main casting page, too, as it regularly updates with new notices when they become available. And considering del Toro has a multi-year deal with Netflix, our guide on how to audition for the streamer could prove useful, as well.
“Frankenstein” Credit: Ken Woroner / Netflix
Jones has collaborated with del Toro numerous times, and though his roles might be unconventional, his advice remains sound—whether you are being transformed into an otherworldly creature or not. He told us that success hinges on kindness, something that applies both on set and in the audition room.
“Creature effects makers, the people who make the designs and the monsters and creatures that go on to me, they’re the ones who really catapulted my career forward. Once they found me and built a couple things and worked with me on set, a couple things came into play: How do you wear their designs? Do you perform well in them? And are you easy enough to get along with and do not complain too much?” Jones shared with Backstage. “As actors, we’re all known as a bunch of divas who are like, ‘Yeah, this is hot. Get it off me.’ If you’re not doing that, it’s exceptional. They think you’re the nicest guy in the world.”
Michael Shannon (“The Shape of Water”) admitted that acting comes with an initial discomfort, but as the saying goes, practice makes perfect. Whether you are going out for the part or you have already landed the role, you must be patient and remember that success will come in time. “Just being in front of a camera is hard,” he told us. “It’s weird. It’s not comfortable. You just have to do it a few times; it’s like jumping off the high dive: the first time you do it, you’re terrified. And then you do it 20 more times, and you’re doing cannonballs.”
Tom Hiddleston (“Crimson Peak”), on the other hand, finds that movement helps him collect his thoughts and process his ideas so he can prepare for the task at hand. “Life is movement; I really believe that,” he told us. “I find when I’m running or walking, the repetitive nature of it relaxes the mind and allows ideas and inspiration to come from a deeper place. I see my work as an actor—especially in preparation for a project or a scene—as almost preparing myself to be open and ready to receive ideas, to receive energy from other actors, to receive energy from my imagination.”