As a film enthusiast who has delved deep into the world of indie horror, I must say that I am absolutely thrilled by the journey that Nanouk Leopold took to bring her captivating debut feature, “Cuckoo,” to life. Her unique approach to storytelling and her unwavering commitment to shooting on film are truly commendable, especially considering the challenges that come with it.
As a passionate gamer, I can’t help but admire the vision of Tilman Singer, the filmmaker who knows exactly what he wants for his cinematic journey. His debut project, the supernatural horror masterpiece Luz, released in 2018, was just a taste of the promising future this German writer-director had in store. Despite being made with limited resources, Singer’s raw talent shone through so brightly that it sparked curiosity about what he could achieve with a larger budget. After a six-year wait, the answer is finally here – Cuckoo, a genre-bending horror film that might or might not be linked to Luz. In Singer’s latest work, the main character goes by Gretchen Vanderkurt, while Julia Riedler’s character in Luz was named Nora Vanderkurt.
Currently, I’m keeping quiet about the possible connection between my first two movies, leaving fans and critics alike intrigued.
“When asked about the specifics, Singer shares that it’s a well-chosen surname he appreciates. He seems to favor names with a frontier feel, reminiscent of the Dutch, which are quite suitable for both Europeans and Americans. So, he prefers to stop there.”
The singer, fresh from his senior thesis film, maintained some essential conditions while arranging Cuckoo with Neon.
In his own words, the line producer attempted to dissuade me from using 35mm film, but it was among my initial requests. I made it clear that my production designer, sound designer, cinematographer, composer were joining me, and I intended to work with film. I added, “We can go for 35mm or a blend of 35mm and 16mm. I don’t mind the choice, but I must shoot analog.”
As a devoted admirer, I must clarify that despite Singer being known for his steadfastness, he’s not merely an unyielding artist. In fact, he is open to embracing the superior concept, regardless of its origin.
“When I’m finding it tough to write a line or figure out how a beat should work within a script, it’s a clear sign,” Singer explains. “In such cases, I approach an executive at Neon whom I admire and ask them for help, saying something like, ‘Would you mind taking a stab at this?’ They would then rewrite the line beautifully, and I’d think, ‘Great, let me paste that in the script. That works perfectly.’ This is how our collaborative process often unfolded.”
Debuting this Friday, the series titled “Cuckoo” unfolds the tale of Gretchen Schafer, who, unwillingly, shifts residences with her father Luis (Marton Csokas) and his new, younger spouse Beth (Jessica Henwick), to a Bavarian Alps resort previously envisioned by Dan Stevens’ Herr König. As they aim to broaden the resort they initially conceptualized eight years ago, Gretchen senses an unusual behavior in her half-sister Alma (Mila Lieu) in their novel surroundings. A woman in a trench coat begins to shadow Gretchen, and this leads to her uncovering a chilling, clandestine scheme.
Stevens assisted Singer in rethinking the character of Herr König, who was originally an elderly German man played by John Malkovich. However, due to the pandemic disrupting schedules everywhere in the industry, these plans had to be altered. During their first meeting, Singer had to apologize to the English actor for overlooking one of his crucial talents.
As someone who has spent years immersed in the world of entertainment, I’ve learned that preparation is key when speaking with actors. However, in my encounter with Dan, I unfortunately fell short of this standard. When he greeted me in flawless German, I was taken aback and almost lost my balance. This experience served as a stark reminder of the importance of proper research before approaching any professional, especially those in the arts. In the future, I will strive to be more diligent in my preparations to ensure that I make a positive impression and foster a productive conversation.
In a recent chat with THR, the singer disclosed how the Russian invasion of Ukraine impacted the filming of Cuckoo.
So did the idea for Cuckoo actually originate from the parasitic behavior of the cuckoo bird?
Indeed, I’d say that during the process of finalizing Luz, I took some time to watch a BBC documentary. In this program, there was an image of foster parents caring for a cuckoo chick, even though their own brood had perished. This particular image really stuck with me and made quite an impact. Later on, I found myself revisiting this concept and thinking, “I should apply this to humans.”
While Cuckoo undeniably touches upon reproductive health matters, I believe it also emphasizes various aspects of female bonding, which can be aptly referred to as different manifestations of sisterhood.
In my opinion, both interpretations hold validity, and I wholeheartedly invite everyone to derive their own unique insights. I don’t believe we’ve made definitive arguments. Instead, the essence lies in the bond of sisterhood, familial relationships, and the various aspects they encompass – whether positive or negative. It’s about recognizing recurring patterns, dealing with generational disputes, and embracing love.
In the year 2021, Dan Stevens portrayed a German-speaking robot in a German movie titled “I’m Your Man.” Was it after this performance that you thought he could convincingly play the character Herr König?
To put it another way:
Was the original cast, excluding Hunter Schafer, going to be different at some point? If so, did the movie undergo significant changes to accommodate the new actors?
The cast underwent changes due to various factors over an extended period, including challenging COVID times. Such circumstances are common in filmmaking where delays and scheduling conflicts occur. As I continued working on the script, I made adjustments to suit the new actors’ vibe and energy. While some aspects were condensed, I don’t believe any fundamental changes occurred. For instance, John Malkovich was initially attached to a role, but he couldn’t participate in the movie anymore. Dan convinced me that the character didn’t necessarily have to be an older man, only someone who represented wisdom and maturity, hence the change in Herr König’s age description.
Is it possible that the universe of Hunter’s character, Gretchen, and the character Vanderkurt from the film Luz share a connection? Are these stories intertwined or part of the same narrative?
To be honest, I’m hesitant to give a definitive response, but let me say this: It’s a strong surname, reminiscent of the frontiers of the Netherlands. These types of names carry an appealing quality, particularly for individuals from Europe and America. That being said, I’ll stop there.
Intriguing figure, the enigmatic Kalin Morrow, or the Hooded Woman, has been a looming presence in the storyline of Cuckoo. How did her character’s appearance develop over time?
As a game developer, I yearned to create a spectral character that could seamlessly blend into the real world, appearing as an ethereal glimpse in the corner of your vision, leaving you with a fleeting feeling of unease rather than causing immediate alarm. However, upon closer inspection, her otherworldly nature would become glaringly apparent. I aimed to embody a timeless, archaic ideal of feminine beauty, and during our costume trials, we experimented with various wigs, settling on one that resembled the iconic style worn by Marilyn Monroe when paired with her hood. It struck me as perfect, and I can’t quite explain why, but it felt essential to capture an outdated vision of feminine beauty for this character.
How did you create the film’s pulsating effect on the day versus in post?
In our film production, our talented cameraman, Paul Faltz, creatively utilized a mirror to capture unique shots. Specifically, he drilled holes in a lighting mirror and made it vibrate along two axes for a mesmerizing parallax effect. This technique was challenging because we didn’t want the overall image to appear as if an earthquake were occurring or reveal anything behind the characters. With limited time to achieve this effect in every scene, we decided to entrust our VFX team with replicating it during post-production. At first, they faced difficulties, but once Paul explained his on-set construction method, they overcame their problems and successfully recreated the desired state.
Whenever a moment loops, how often was the same take used?
It’s a thought-provoking question indeed! When developing this concept, I found myself wanting to offer a fresh perspective on a familiar scene in films. Essentially, I sought to present unique variations of the same shot, something that isn’t typically done and wasn’t previously showcased in a prominent manner. We experimented with depicting characters in various stages of distress, sweatiness, chaos, fear, and so on. Although some similar takes may appear occasionally throughout the movie, we aimed to create a diverse range of expressions for each scene.
I’ve always thought that the talented actress, Jessica Henwick, deserves to star in her own productions, as I am deeply fond of her work.
Oh yeah!
What pointed you in her direction?
To put it simply, the advice from the casting director and producers about this actress was quite traditional yet highly respected. Upon examining her work, I can confirm that she truly is extraordinary, as you mentioned. Consequently, I was overjoyed when she accepted a minor part in our production.
In the movie, you’ve received recognition for composing several pieces of music, one of them being “Gretchen’s Song”. Notably, this song features a bassline that repeats multiple times throughout it.
I’m so happy you noticed that!
What’s the backstory there?
As a fan, I took it upon myself to craft a piece of Gretchen’s musical journey. Pondering her band’s sound, I found myself in an interesting conundrum – at that moment, she didn’t even have a band! Yet, I knew she was a musician, and the bass seemed like the ideal instrument for her. So, I let my imagination run wild, visualizing various bands she could be part of on the bass. The Jesus and Mary Chain stood out as the perfect fit. Their music resonates deeply with me – it’s loud, romantic, and filled with reverb – a perfect match for Gretchen’s character. We then set our sights on the B-side of an extended edition of “Darklands,” but the price tag was steep. The producers suggested we redirect that investment elsewhere, so unfortunately, that dream collaboration didn’t quite materialize.
After examining my list further, I realized none of the options would fit. There were songs by Suicide and The Velvet Underground on there, but they didn’t seem appropriate. So, I approached our composer, Simon Waskow, and requested a song in the vein of The Jesus and Mary Chain, with a touch of that old spaghetti Western melody. You see, I had earlier composed a lead guitar melody for a mini-Western we filmed on a soundstage as part of a school project, and Simon had transformed it into a score for this short film. He did the same for our latest production, Cuckoo, which might have been the catalyst for Gretchen forming her band and becoming a singer. We thought maybe Hunter could lend his voice to this piece. To our delight, he agreed, and we proceeded with the recording.
Is it typically challenging for U.S. filmmakers to use 35mm film, or is this a global issue? Does the same hold true for filmmakers outside the United States?
Generally speaking, it seems like you’re in a situation where you feel compelled to stand your ground. The line producer has attempted to dissuade you, but this is one of your initial requests: “I’m planning to bring my production designer, sound designer, cinematographer, composer, and I want to film on actual film.” I told them, “I don’t mind if we use 16 mm or wide shots will be less clear, or we can use 35 or a combination of both. I’m flexible, but I insist on using analog media.”
Are Neon and A24 leading the pack when it comes to independent horror films? Is Neon living up to the hype that’s been built around it?
In all honesty, I believe we didn’t have a more suitable collaborator than Neon. One reason Neon stands out is their ability to recognize potential in a project at an early stage, understanding that not everything can be written on a script page. They wholeheartedly embraced our unconventional idea and were consistently supportive during crucial moments. Our interactions were marked by mutual respect and a nurturing environment.
In our discussions, I found myself particularly content with the script at hand. A clear sign that I was grappling with a specific line or struggling to fit a beat within the script was evident. Therefore, when engaging with an executive whom I hold in high regard, I would request, “Would you mind giving it a shot?” This would prompt them to write the line in a flawless manner. My response would often be, “Excellent! Let’s insert that into the script. Well done.” This is a general summary of our collaborative process.
As a gamer, I often find myself immersed in shaping the game’s vision alongside my fellow creators. At times, I get so engrossed that I miss the bigger picture, like a wanderer lost amidst the trees without seeing the forest. But there are moments when an intuition strikes me, something that’s not fully formed yet but feels right. It’s as if I can see a path or a narrative that others can’t quite perceive yet.
Does every director inevitably need to make concessions during the creative process? Can you think of a particular compromise that ultimately turned out to be advantageous?
You’re spot on! Such incidents occur frequently. In times of hardship, it’s inspiring to recognize the opportunities for innovation that arise. For instance, some crucial facilities we utilized, such as this hospital or treatment center complex at the end, were repurposed into refugee camps due to the Ukraine War. While this was undoubtedly a noble cause, it left us wondering, “Where do we film now?” It’s a challenge, but we’re exploring creative solutions.
Afterward, a significant portion needed to be moved to an old British Air Force base (RAF) in Germany, situated near the Belgium border, which had been abandoned 15 years prior. This turned out to be beneficial since it served as our main camp. We could easily transition between locations, yet it also offered an authentic ambiance and feel. The buildings were in a state of decay, with many parts crumbling or unsafe for use during filming. However, the worn-down appearance often added a desirable patina to our shots.
As a seasoned filmmaker with decades of experience under my belt, I’ve learned that the creative process can be both exhilarating and heart-wrenching. One thing that never ceases to challenge me is when I have to recast an actor or actress I had set my sights on for a role. It’s like losing a dear friend or a trusted ally in battle – you feel the weight of disappointment, frustration, and the sting of loss.
Do you have a sense of what you might make next?
Sure thing!
***
Cuckoo opens in movie theaters on Aug. 9.
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2024-08-08 00:56