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They were built on Soundstage 28 at the Universal Lot. These drawings were used as the basis to build the sets, including the subterranean levels, which were not based on fact but imagination.Ī substantial portion of the budget was poured into the creation of the Paris Opera House sets. During pre-production, Carré drew 24 charcoal sketches. To get the look of the Paris Opera House correct down to that last detail, Laemmle hired French art director Ben Carré, who had worked at the Opera House for several years. This would be a star vehicle for Lon Chaney, and was added to the shooting schedule for 1924. Laemmle bought the rights the following day, after devouring every word written between the covers the night before. Lon Chaney as the Phantom with his makeup kit. Laemmle was an admirer, and Leroux gave him a copy of his book Le Fantôme de l’Opéra, published in 1910. After a chance encounter with author Gaston Leroux, their conversation took an interesting turn when the subject of the Paris Opera House came up. The idea for the movie received its genesis when Carl Laemmle, the head of Universal Pictures, took a family vacation in Paris in 1922. Although 1923’s The Hunchback of Notre Dame could be considered the first movie in this genre for the studio, it really kicked off two years later with The Phantom of the Opera. Universal Studios has been synonymous with high-quality horror movies for almost its entire existence.