Monsters obsessed him as a child. Now Robert Eggers is about to unleash his own ‘Nosferatu’

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As a film enthusiast and connoisseur of horror, I find myself utterly captivated by Robert Eggers‘ journey. His relentless pursuit of creating unique and chilling masterpieces is truly admirable. The way he seamlessly blends historical context with modern horror tropes is nothing short of genius.

It all started decades ago with a book.

In a small town named Lee, New Hampshire, there lived a diligent young boy named Robert Eggers, who was only 9 years old. He spent much of his time exploring the school library’s collection about diverse types of mythical creatures.

On the book about vampires, there was an image of Max Schreck standing beneath a Gothic arch, and at that moment, Eggers (now 41) recalls with striking clarity, he thought ‘That is the most amazing thing I’ve ever seen.’ Beneath the picture, in small italics, it mentioned the image was from a movie titled ‘Nosferatu’, which Eggers had never come across before.

According to Eggers, he had a deal with his mom that allowed him to watch whatever he wanted, on the condition that they would discuss it afterwards. He occasionally felt it wasn’t worth the effort, but in the case of the 1922 German silent film starring Schreck as Count Orlok, the vampire, it was absolutely worth it.

In a small town in New Hampshire, my mother took me to the nearest video store, a challenge due to its scarcity. We rented the VHS tape and waited around a month for it to arrive. If it had come with a corny organ or synthesizer soundtrack, it would have spoiled it for me, but there was no sound at all. When the coffin lid was lifted and Orlok was revealed, it was quite unsettling – not a sudden shock, but truly disturbing. I didn’t notice the techniques of silent filmmaking; it seemed almost real to me.

As a high school senior, he and his friend Ashley Kelly Tata (now a renowned New York theater director) felt inspired enough to produce their own rendition of “Nosferatu” in a small-scale manner. This production was later showcased at the esteemed Edwin Booth Theater in Dover, NH. Eggers recalls, “The theater had such a distinctive aroma that I still remember vividly. It was an extraordinary chance, one that had a profound impact on my life. I began to consider the possibility that I could become a director.

For more than three decades, a chilling memory from that silent film has lingered in Eggers’ mind, during which he ascended to become one of America’s leading cinematic masters of unease. Renowned filmmaker Guillermo del Toro lauded him as a distinctive and lively voice in filmmaking. His works, such as “The Witch” (award-winning at Sundance in 2015) and “The Lighthouse” (nominated for cinematography at the Oscars in 2020), are elegant yet unsettling. Despite my aversion to horror films, Eggers’ mastery of the craft, his subtle shock tactics, and his ability to create maximum impact with minimal explicitness have captivated me.

For a significant portion of that period, Eggers was eagerly planning and strategizing to bring his unique take on “Nosferatu” to the big screen, and now, it’s come to fruition: Scheduled to premiere on Christmas Day, this exceptionally well-crafted and genuinely chilling adaptation of “Nosferatu” stands out for its blend of respecting tradition and offering a unique sense of unease.

In the eerily vacant balcony of a hotel eatery, Eggers himself embodies a reflective tranquility amidst the tempestuous uproar his movie has stirred, choosing to ponder over his responses prior to voicing them.

According to Eggers, it was risky because I didn’t have the necessary skills to pull it off earlier. Additionally, he finds the cast extraordinary, and the way they came together was quite surprising.

In a remarkable transformation under multiple layers of makeup (over three hours for the face and hands, six hours for the full body), actor Bill Skarsgård transformed into the title’s vampire character. Originally cast in another role in an earlier adaptation, Skarsgård left a lasting impression on director Robert Eggers when he portrayed Pennywise as a middle-aged man in ‘It Chapter Two’. Recalling this chilling performance, Eggers thought, “I believe Bill is capable of playing Orlok.

In the legendary German city of Wisborg in 1838, Lily-Rose Depp takes on the role of Orlok’s counterpart, the young bride Ellen Hutter. According to the director, she not only grasped the script but demonstrated a deep understanding of it. She has watched every Dracula movie ever produced, even the arthouse ones. After her audition, both the crew and the cameraman, who typically remain impartial, were moved to tears.

The cast for “Nosferatu” came together seamlessly, with Nicholas Hoult taking on the challenging role of Ellen’s husband Thomas, alongside Willem Dafoe as Professor Von Franz, an expert in the occult. Other notable actors like Aaron Taylor-Johnson, Simon McBurney, and Emma Corrin also joined, contributing to smaller roles. Director Eggers described this casting as “really fortunate” and essential for the film’s success due to the depth that these talented individuals brought to their characters. In contrast to the classic “Dracula” with Bela Lugosi, it is the central duo of Count and Ellen that drives the drama in “Nosferatu.

In “Dracula,” Lugosi is headed to London for something along the lines of world control, according to the director’s explanation. In “Nosferatu,” the count is making his way to Wisborg with an intention that becomes clear when he says, “You have awakened me from an eternity of darkness.” Eggers’ adaptation of “Nosferatu” reflects the undertones present in the 1922 version (which Eggers calls “there is a dark sensuality to it”) and builds upon them, intensifying the original’s themes of love, death, and desire. The story of the enigmatic lover particularly resonated with him.

In the spirit of Eggers’ filmmaking style, as evident in “Nosferatu”, I immerse myself deeply in research to achieve an astonishing level of intricate detail on-screen. The cityscape of Wisborg we see is a testament to this dedication; it was meticulously built, complete with five interconnected city blocks. This elaborate construction, layered upon layers, offers a rich tapestry when captured in the opening shot of Thomas hastening through the streets. The scene brims with life, teeming with hurried pedestrians, busy merchants, countless beasts of burden, and more, all vying for their piece of the sunlight.

Eggers openly states that he takes pleasure in conducting research, although he sometimes feels weary about constantly emphasizing historical authenticity. However, he strongly believes that amassing details provides a solid foundation and immerses the audience, making it simpler for them to accept the supernatural elements portrayed in the movie.

Eggers frequently admits that amassing details through research feels more natural to him than creating them, even details that won’t be noticeable to spectators, such as a character’s children’s initials hidden within a watch case or how Thomas’ friend Friedrich (Taylor-Johnson) wears an accurate historical corset beneath his garments. “The viewers don’t perceive it,” the director explains, “but he [Friedrich] senses it.

Certain aspects of the movie, such as Orlok’s unusually long fingers and filming outside Hunedoara Castle in Romania, which resembles the genuine Transylvania, pay homage to earlier vampire movies. For instance, over 5,000 live rats were employed, some of which were taught to climb up a ship’s gangplank and enter upon command. However, Eggers insists that he is not just gathering these elements; instead, he is constantly reshaping, creating, and expanding upon reality as seen through his unique perspective of this historical era.

Movies

In an impressive leap forward, filmmaker Robert Eggers crafts his most expansive work to date with the Viking epic ‘The Northman.’ This production seamlessly blends authentic history with a hint of enchanting supernatural elements.

One thing Eggers particularly enjoys about research is uncovering facts stranger than one might imagine. The director insists that Orlok is not your typical sophisticated vampire dressed in dinner jackets, but rather a decayed figure resembling a zombie more closely. The question then arises, what would a 16th-century Transylvanian nobleman who turned into a vampire look like? Interestingly, Orlok wears on screen a cape with exceptionally long sleeves, longer than necessary, to demonstrate his wealth and creating a distinctive appearance.

Compared to the costly production of “The Northman,” released in 2022, Robert Eggers’ film “Nosferatu” had a more modest budget. This difference, however, provided an unparalleled learning opportunity for the director. Reflecting on the experience, he said, “That was the most valuable lesson I could have hoped for. The scale of it was immense compared to anything I’d worked on before; it was like being thrown into the fire. I always aim to take on more than I can handle, and when that project ended, I thought, ‘Now I know how to direct.’

In his newest movie project, Eggers deliberately chose to film “Nosferatu” extensively using uninterrupted shots. This choice necessitated the creation and building of approximately 60 unique sets, many featuring moveable elements such as walls and ceilings, to allow for seamless camera maneuverability.

The director elaborates that just as specific details from an era immerse you, extended, seamless shots pull you deeper into the movie’s universe. When there are no cuts, you become increasingly engrossed in the mesmerizing quality of the narrative. You feel less like you’re being tricked or disconnected.

Due to the importance of avoiding even minor errors during prolonged recording sessions, Eggers’ team had to maintain a very high level of focus and attention.

The director explains that while his production isn’t devoid of humor, it carries a serious and challenging tone. He emphasizes that everyone involved, from the actors to the crew members like dolly pushers and set workers who adjust camera walls, understands their crucial roles. Interestingly, the camera team in Prague, having worked on numerous films, acknowledged that this project was distinct from anything they had encountered before.

The high level of cooperation was facilitated by one of the tightest-knit crews in the independent film industry, a group that includes production designer Craig Lathrop, costume designer Linda Muir, and others who have been part of Eggers’ films since the beginning. Jarin Blaschke, his Oscar-nominated cinematographer, and editor Louise Ford have a longer history with the director, having worked on two of his earlier short films as well.

Eggers describes his team as a unique mix of love and dysfunction, adding that they’re interconnected in a special way,” he says cheerfully. “We understand one another deeply, trust each other implicitly, and know what motivates us. Plus, as we collaborate more, there’s more room for everyone to contribute their individual strengths to the project.

But, even though Eggers allows that “a Venn diagram of our interests would mostly overlap,” there are also “areas where we push each other in different directions. We want to feed each other, we want to grow, we’re pushing each other past where we initially imagined.”

One way to rephrase the given text could be: “Deciding how to depict Count Orlok’s conclusion was a significant issue that required teamwork to solve.” Eggers explains, “The ending proved to be tough,” primarily due to his preference of not revealing the monster and delaying its appearance for a considerable amount of time. However, in the final stages, there was no alternative but to present the creature, and determining what this last scene would look like was both unsettling and terrifying for him.

Adding another layer of complexity was Eggers’ disapproval of a certain approach. “I don’t favor it when vampires are destroyed by sunlight. Interestingly, it’s the movie ‘Nosferatu’ that is known for popularizing this concept. Contrary to popular belief, vampires are said to be able to rest in their graves until dawn, a time often symbolizing redemption. But, ironically, it’s at dawn, not sunlight itself, that they supposedly perish.

To address this predicament, Eggers opted to seek advice from a choreographer, who was already involved in advising on various scenes involving Thomas and Ellen, the couple. The arrangement of actors as a result is so powerful, so poignant, that it’s hardly shocking to learn the filmmaker admits he feels sympathetic for Orlok, despite knowing him as such a monster.

One unexpected name on the cast and crew list for “Nosferatu” is Chris Columbus, known for producing it. Yes, this is the same Chris Columbus who directed popular family movies like “Home Alone,” several “Harry Potter” films, “Mrs. Doubtfire,” and more. Eggers’ dedication to creating top-tier films led him to include Columbus in his team.

The two gentlemen shared a deep affection for vintage British Hammer horror movies, and Columbus played the role of executive producer in Eggers’ initial two films. However, in “Nosferatu,” his involvement was quite active, acting more like an engaged producer.

According to Eggers, Chris proved to be an exceptional guide throughout the process. Their paths crossed during the post-production phase of ‘The Witch,’ yet it wasn’t until ‘Nosferatu’ that they collaborated closely for the first time.

Jarin and I meticulously plan each shot, sometimes bordering on over-planning, and Columbus serves as a refreshing counterbalance to our artistic tendencies. He’s a seasoned Hollywood storyteller who has a knack for pointing out elements that might be missing in our elaborate plans, like saying “Where is this crucial moment? It’s written in the script but it seems absent from the storyboards.

Since our movies are distinct, there’s no awkwardness. He isn’t interested in diluting our work; he understands it’s not just another Chris Columbus production. If there’s a chance for an extra take on set, he encourages me to do it. In essence, he becomes another collaborator.

In the creative realm of Robert Eggers, talented filmmakers are consistently sought after; their skills are appreciated without any need for inquiry.

Wondering how that first 9-year-old might react to everything now? Eggers muses, “I’d say he would find it quite exciting.

“I thought I’d be making movies as a kid, but not like this.”

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2024-12-06 03:06