Guillermo del Toro Plots Bold New Take on Phantom of the Opera

Guillermo del Toro, whose name is now synonymous with visually arresting fantasy and gothic cinema, appears to be in no mood to rest on his laurels. With a string of celebrated films behind him—think Pan’s Labyrinth, Pacific Rim, and The Shape of Water—he’s already eyeing his next creative leap after Frankenstein. In a recent chat, del Toro let slip that he’s rather keen to put his own spin on The Phantom of the Opera, though he’s not quite ready to dive in just yet.

The Phantom of the Opera, because it’s such a classic tale, but I would do it differently. I have a couple of ideas but for now, I’m going into crime and stop-motion.

He’s clearly drawn to Gaston Leroux’s 1910 novel, calling it a classic, but insists his approach would be anything but conventional. While he’s got a few notions brewing for the musical, del Toro says he’s stepping away from gothic romance for the time being. Still, it’s hard to ignore his fascination with misunderstood monsters—a theme that’s run through much of his work. He’s hinted at a more emotionally charged interpretation of the Phantom, suggesting a fresh perspective on the iconic figure.

Reimagining a Timeless Tale

The Phantom of the Opera remains one of Leroux’s most enduring stories, centring on Erik, a gifted yet disfigured musician haunting the depths beneath the Paris Opera House. His infatuation with the young soprano Christine Daaé spirals into obsession, sorrow, and ultimately, disaster. Over the years, audiences have seen this tale reworked in countless forms, from Andrew Lloyd Webber’s blockbuster 1986 stage musical to the silent film classic of 1925, famed for Lon Chaney’s haunting visage. More recently, Joel Schumacher’s 2004 adaptation, with Gerard Butler in the lead, brought the story to a new generation.

Del Toro, however, seems poised to take the narrative in a different direction. Judging by his treatment of Frankenstein, it’s likely he’ll focus on the inner turmoil and loneliness of Erik, painting him as a figure shaped by rejection rather than pure menace. The director’s knack for imbuing monsters with genuine feeling could well redefine how audiences see the Phantom.

Visual Flair and Gothic Atmosphere

Visually, del Toro’s style feels almost tailor-made for this material. His previous work on Crimson Peak and Frankenstein has shown a flair for gothic set pieces and moody atmospheres. One can easily imagine the opera house under his direction—equal parts eerie and enchanting, with every shadow and flicker of candlelight adding to the emotional weight of Erik’s story.

For those curious about his latest film, Frankenstein, here’s a quick look at the essentials: the 2025 release is directed by del Toro and stars Oscar Isaac, Jacob Elordi, Christoph Waltz, and Mia Goth. It’s clocked a solid 7.5/10 on IMDb and boasts an 85% score on Rotten Tomatoes, with a runtime just shy of two and a half hours.

New Directions: Crime and Animation

While fans speculate about his take on The Phantom of the Opera, del Toro is already juggling other projects. He’s currently penning a crime thriller called Fury, which he describes as “very cruel, very violent,” and reminiscent in tone to Nightmare Alley. In his words:

I’m writing it right now, and it’s called Fury, and essentially it’s going back to [the] sort of thriller aspects of Nightmare Alley – very cruel, very violent. Like My Dinner with Andre but [with] killing people after each course.

On top of that, he’s returning to stop-motion animation, fresh from his Oscar win for Pinocchio. Del Toro is developing an adaptation of Kazuo Ishiguro’s The Buried Giant for Netflix, signalling a return to the genre that’s brought him critical acclaim. With crime, animation, and gothic classics all in the mix, del Toro’s creative future looks anything but predictable.

What are your thoughts on del Toro’s potential Phantom of the Opera adaptation?

Frankenstein is now available to stream on Netflix.