As a filmmaker who has been captivated by the dark and mysterious for as long as I can remember, I must say that Robert Eggers‘ latest masterpiece, “Nosferatu,” is nothing short of extraordinary. Having grown up in the cold, isolated landscapes of Newfoundland, I feel a kinship with Ellen, the film’s protagonist, who is also a product of her environment and struggles to comprehend the darkness that surrounds her.
SPOILER ALERT: This article contains mild spoilers about “Nosferatu,” now playing in theaters.
In theaters now, “Nosferatu,” directed by Robert Eggers through Focus Features, offers a daring, starlit reinvention of F. W. Murnau’s 1922 classic silent movie with the same title. Starring Lily-Rose Depp and Bill Skarsgård as the captivating Ellen Hutter and hideous Count Orlok respectively, alongside Nicholas Hoult, Aaron Taylor-Johnson, Emma Corrin, Willem Dafoe, and Ralph Ineson, this film weaves a chilling tale that draws upon the ominous folklore of Eggers’ previous works such as “The Witch” (2015), “The Lighthouse” (2019), and “The Northman” (2022). The storyline is imbued with tension, emotion, passion, and a pulsating erotic undertone. During an interview with EbMaster, Eggers shared insights into the development of this film that has inspired him since his childhood, his creative collaboration with director Chris Columbus, and the popular “Nosferatu” merchandise that’s been generating buzz online.
Why do you think the original film struck you from such a young age?
Previously, I had a fascination with vampires and watched the Bela Lugosi movie on multiple occasions. For Halloween, I planned to dress up as Dracula. However, “Nosferatu” was different. The recent restorations of this film reveal Max Schreck’s bald cap and grease-painted eyebrows. In contrast, the VHS copy I had as a child was of poor quality, a degraded 16mm print that didn’t show any of those details. As a result, it seemed like an authentic relic from the past, and its eerie atmosphere felt even more haunting due to its deteriorated state. To put it simply, it was incredibly genuine.
You wrote a full novella to help you prepare for making the movie. Is that something that would ever see the light of day?
I may not be a professional novelist, which is why my writing might seem rough around the edges. However, some of my screenplays have received positive feedback if you’re interested in reading them. Keep in mind that a screenplay is essentially a blueprint for a movie, and as such, it remains unfinished until the film is actually made. Similarly, the novella I wrote served as a means to help me develop the screenplay, rather than being a polished piece of literature. Therefore, no, it’s not perfect yet, but it holds potential.
You’ve said you’re grateful that it took you 10 years to get this film off the ground so that you could direct it at a point in your career where you can tell the story the way you wanted. What do you think you were able to accomplish now in your directorial career that you might not have been able to pull off in your younger days?
Gathering knowledge allows me to translate my imagination into more detailed screenplays. Although I’ve only directed four films, my career isn’t particularly renowned yet. However, I had greater control over the projects due to a compelling story, an intellectual property (IP), and a substantial budget. This enabled Focus Features to provide me with exceptional creative freedom and exceptional support. Consequently, I found myself in the incredibly fortunate position of being able to make the film exactly as I envisioned it.
Was there a specific moment when you knew Lily-Rose could nail the role of Ellen?
I met with her due to her impressive past work, even though she hadn’t led a film before. However, upon meeting, I felt confident in her abilities because she grasped the character well. I told her, “I’d like to cast you for this role, but you must audition first. Let’s ensure you ace it.” We prepared slightly for the audition, but she was already skilled. She had challenging scenes to perform: a monologue about death at a wedding and a heated confrontation scene with her husband at the end. Her performance during the audition displayed the same raw intensity as in the film’s climactic scene, making her potential power undeniable. While discussing Lily’s talent extensively, I prefer to observe actors making bold decisions and giving their all during auditions. The films I produce require a lot, so I want to see that you’re determined enough to push your limits.
When did you realize that Orlok’s look would include a prominent mustache?
To create a truly terrifying vampire character that hasn’t been seen for a while, I decided to delve into the original folklore. I find this era fascinating, as it was written by people who genuinely believed in the existence of vampires. The folkloric vampire is a disgusting, walking corpse, and I wanted to capture that essence. So, I asked myself, “What would a deceased Transylvanian nobleman appear like?” This led me to imagine an elaborate Hungarian costume with long sleeves, tall heels, and a furry hat. A mustache was also a crucial element of this character – it’s such a deeply ingrained part of the culture that it’s hard to find a Transylvanian man without one. If you’re not familiar, think of Vlad the Impaler. Even Bram Stoker understood the importance of giving Dracula a mustache in his novel.
Another visual question: When did the striking final image of the film, with Orlok and Ellen locked in an eternal embrace, come to you as a way to close the story?
As I grappled with finding the right way for Orlok’s death scene, that last shot was destined to be the climactic one all along. It’s satisfying to put our unique spin on the “Death and the Maiden” theme. I believe it turned out quite well visually.
[Thinks to himself, laughs.] No, that’s a little too demented.
I can do demented!
In the close-up view, it’s evident that Orlok continues to bleed from his eyes, ears, and nose. There are signs of maggots in his back too. Interestingly, we made him bleed from his anus as well, but it ended up being quite amusing. Once filming began, we had to physically stop the flow with a cork.
Is there something that you learned about filmmaking while making this movie that stuck with you?
Working with numerous rats will inevitably lead to an unpleasant odor due to their inherent lack of bladder control, despite their intelligence.
Did you learn anything about yourself while making this movie?
One fascinating aspect was having the creative producer be Chris Columbus, an unexpected pairing given our differing filmmaking styles. However, his vast experience in traditional Hollywood storytelling proved invaluable, providing guidance every day. He wasn’t trying to turn “Nosferatu” into a typical Chris Columbus production; instead, he aimed to help create the best Robert Eggers movie possible. His perspective served as a counterbalance to our more artistic leanings at times. In essence, he acted as a safety net, asking questions like, “Are you communicating the story effectively at this moment?” Most of these discussions occurred during pre-production when he was reviewing the storyboards. Ideally, Chris would produce all my films, but he’s also a director himself, so he must direct his own movies [laughs]. Nevertheless, whenever I don’t have him, Chris’s voice will echo in my mind to help me stay grounded and focused on telling the story effectively.
How did that collaboration come about?
While wrapping up the production of “The Witch,” we encountered a financial crunch. In essence, we were left with Monopoly money for post-production. Fortunately, Chris and his daughter Eleanor’s company Maiden Voyage, established to aid first- and second-time filmmakers, stepped in to lend a hand. Initially, Chris wasn’t particularly interested in the project, but upon viewing a cut of the film, he developed a new perspective. As a result, they assisted in completing the movie, which is when I first crossed paths with Chris, and he has served as a mentor since then.
The film threads in some very erotic scenes while telling its story. How did you decide the role you wanted sexuality to play, as in how much you wanted to depict on screen versus leaving it to the imagination?
As a movie critic, I found myself drawn to the profound impact of Jack Clayton’s “The Innocents” on our film, where the underlying sexual themes are left tantalizingly unspoken, igniting the imagination with an intensity that’s truly captivating. I’ve seen adaptations of Henry James’ “The Turn of the Screw” that opt for explicit portrayals of these themes, but they fall flat compared to this subtle approach. Treading on uncertain ground, we chose to bring these elements into focus in our film. However, I believe the success lies in the narrative perspective, as the entire story unfolds through the eyes of Ellen, our enigmatic female protagonist. This vantage point opens up a rich landscape for emotional and psychological depth, given her unique condition as a somnambulist.
19th-century sleepwalkers were believed to straddle two realms and possess an intuitive grasp of the unknown, which they couldn’t verbally express, leaving them secluded. This mysterious understanding of another world and unique thought process she doesn’t have words for isolates her. However, the allure towards this otherworldly realm is intense, leading people to label her as melancholic and hysterical. The internal struggle she endures becomes evident. I believe tying this character to the hardships of a 19th-century woman provides depth and authenticity. Additionally, portraying the vampire as physically repulsive may create an intriguing dynamic where sensuality coexists with revulsion in a striking manner.
Some of the official merch inspired by the film has caught the attention of the internet, including a popcorn bucket shaped like a coffin and a $20,000 life-sized sarcophagus bed. Were you in any discussions about this “Nosferatu” gear?
Anything that I find displeasing, I’ve expressed, “Kindly avoid it.” I may not be the originator of these ideas, but I still find them entertaining.
Are you the owner of a sarcophagus bed?
I can’t afford one! [Laughs]
Looking ahead, what can you reveal about any upcoming projects?
I’ve penned numerous scripts, and currently working on a few more. Some ideas are grand, while others are more modest. The allure lies in exploring various scales to narrate diverse stories. Regrettably, my imagination isn’t vast, and I find myself drawn to similar themes and motifs time and again. They share a resemblance to the work of Robert Eggers, whether it’s commendable or not.
So you couldn’t see yourself doing something like a broad modern comedy or something else off-base?
I mean, look: Aside from the fact that it wouldn’t appeal to me, why the fuck would you want me to do that? There are things that I have skills in, so I should probably embrace those and continue to get better at them. Obviously you want to stretch yourself, but like I don’t want to do something I have no business doing.
Is there any movement on the Rasputin miniseries that was teased a while back?
I don’t think I’ll be on location in Russia anytime soon, unfortunately.
You’ve been so busy finishing “Nosferatu,” but have you had a chance to see any horror this year, and if so, what did you enjoy?
I truly enjoy “The Substance.” It maintained a cohesive, crisp, precise concept throughout, which was expertly carried out. From a filmmaker’s perspective, it’s hard not to appreciate that and endorse its success.
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2024-12-26 05:17