NEW YORK — When Tamara Deverell, the production designer on Guillermo del Toro’s “Frankenstein,” first strode across the nearly finished set of Victor Frankenstein’s lab, she couldn’t help herself.

Deverell had by then spent countless hours toiling over the film’s central set, a massive laboratory perched atop an old Scottish stone tower, with a massive round window letting light in on a workshop full of ornate apparatus and a malformed body splayed out on the operating table.

“I walked into the lab set when we were just finishing it,” Deverell says, “and I was like, ‘It … it’s alive!”

In making “Frankenstein,” metaphors are hard to resist. Moviemaking, itself, is a Frankenstein art. Each element of production — the costumes, the set design, the lighting, the music — is brought together

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