As a film enthusiast who has had the privilege of watching Chris Columbus’ work since my childhood, I must say that his journey in the world of cinema is nothing short of remarkable. From the enchanting magic of Harry Potter to the heartwarming nostalgia of Home Alone, his films have left an indelible mark on generations of moviegoers.
It’s caused a bit of surprise among viewers that Chris Columbus, known for movies like “Home Alone,” “Mrs. Doubtfire,” and the “Harry Potter” films, has a producer credit on Robert Eggers’ “Nosferatu.” Given his history of creating family-friendly comedies and fantasy adventures, it might seem unusual that he would be involved with a filmmaker known for his unique take on genre movies. However, Chris Columbus, along with his daughter Eleanor, through their production company Maiden Voyage, aim to demonstrate that filmmakers can encompass diverse talents and styles.
The success of their third movie together under the Maiden Voyage label, produced by Columbus and his daughter, relies on several key aspects. One such factor is Chris’s production philosophy, which he developed while working on the franchise-opening film, “Harry Potter and the Sorcerer’s Stone” (2001). During the production of this movie, Chris wasn’t entirely content with the Devil’s Snare scene, so he asked for some enhancements involving computer-generated effects. However, a higher-up producer turned down these requests.
In a conversation with The Hollywood Reporter, one executive told Columbus, ‘It’s alright if the Devil’s Snare scene isn’t as strong as the others in the film.’ As Columbus reflects, he vowed never to make such a comment if he were producing for someone else. He admits that this stance might lead to the demise of Maiden Voyage as a company, but their firm belief is that they always support the director’s vision. This approach, in turn, has greatly assisted Rob [Eggers] in bringing his vision for Nosferatu to life.
The following event crucial for Maiden Voyage was Chris’ association with NYU’s Film Production Fund named after Chris Columbus and Richard Vague, which offered grants to first-time filmmakers over five years. As an NYU alumnus, he played a role in selecting the grant recipients. Notably, this program launched the feature directorial debuts of distinguished directors such as Chloé Zhao (Songs My Brothers Taught Me) and Dee Rees (Pariah), both of whom have since received awards. However, Chris regretted that he had limited contact with these filmmakers whose careers he contributed to. Therefore, he reached out to Eleanor, who, after her own graduation from NYU’s Tisch School of the Arts, was gaining experience in New York’s independent film scene. Within 48 hours, she moved to San Francisco to establish Maiden Voyage alongside her father.
One reason Chris chose to bring on Eleanor was his understanding that accomplished directors may unintentionally become rigid in their thinking as they age. To counteract this, Eleanor could offer fresh perspectives and advice from a younger generation’s viewpoint, which is evident in Maiden Voyage’s diverse collection of films such as Sian Heder’s debut “Tallulah”, Geremy Jasper’s “Patti Cake$”, Karen Maine’s “Yes, God, Yes” and Sean Wang’s “Didi”. Chris also feels that Eleanor and the young filmmakers associated with Maiden Voyage have played a significant role in refining his own filmmaking approach.
As successful directors progress in their careers, they may develop a narrow perspective and an inflated sense of self-importance: ‘I’m the one who knows best. I’ve cracked the code.’ However, this isn’t always true, as Chris Columbus points out. Many filmmakers in their later years struggle to recapture the success they had in their 30s and 40s. Quentin Tarantino might argue that this is because one can only make great films during one’s thirties and forties, but Columbus doesn’t entirely agree. Instead, he believes that it’s a matter of losing enthusiasm and failing to listen to others. The film I recently directed, The Thursday Murder Club, may not be the best I’ve ever made, but by learning from younger talents, I’m hopeful that it will keep me in demand for many more years.
Regarding Eggers, he encountered the filmmaking duo, the Columbuses, during post-production of his critically acclaimed debut, “The Witch” (2015). Facing challenges, he sought advice to help push the movie, starring Anya Taylor-Joy, across the finish line. The Columbuses provided that assistance and formed a connection in the process. Their focus eventually shifted towards Eggers’ reinterpretation of “Nosferatu”. Development for this project took almost a decade, but the delay proved beneficial as Eggers acknowledges he needed to hone his skills on “The Lighthouse” and “The Northman” beforehand. The Columbuses were also involved in the production of “The Lighthouse”. Additionally, earlier studios failed to fully back Eggers’ vision.
As a dedicated fan, I’ve shared the experience of being with places where the film didn’t quite resonate. We encountered some rather unflattering ideas regarding casting and plotlines, but Rob was firm in his resolve not to alter anything. He wasn’t necessarily opposed to tweaking a line here or there, but he had a clear vision – one that has been with him since he was nine years old! So, he stood firm, which understandably gave some pause at other studios. However, when we landed at Focus, Kujo and Kiska were incredibly supportive of Rob’s vision.
In a recent chat with THR, Chris shares that Eggers’ horror films bring him back to his early days, and he also expresses opinions about Macaulay Culkin’s rekindled love for the ‘Home Alone’ series. Eleanor, in turn, talks about her personal connection to her father’s work.
Chris, it seems like Nosferatu’s Christmas Day premiere represents a significant change in tone compared to the family-friendly films you’ve been associated with over the past four decades during the holiday season. Could this be a reflection of current trends?
In Chris Columbus’ perspective, transitioning from family-friendly movies like Gremlins to the darker genre of Nosferatu isn’t much of a leap, as it brings him back to his roots. Originally, Gremlins was intended to be an R-rated film, but Steven Spielberg persuaded Columbus to make it PG-13 and remove the scene where Billy’s mother’s head rolls down the stairs for broader global appeal. This adjustment made in 1983 has stayed with him ever since. Whether he intentionally held back from darker projects or was simply drawn to lighter themes, it’s a logical progression. His bond with Robert Eggers over their shared love of Hammer horror films ignited the discussion about horror films in general, and eventually led to the concept of Nosferatu. They have been backing Eggers’ vision and working towards its production for over a decade.
Eleanor, when you both began working together under the Maiden Voyage label a decade ago, did you guide Chris towards the independent scene?
ELEANOR COLUMBUS: Well, it’s flattering to be associated with such great projects, but I must clarify, it wasn’t my solo work. Chris and I share a deep love for storytelling, often debating about which projects we should be part of. Following my graduation from NYU film school, I began in independent film, working as a production assistant (PA) for directors like Peter Glanz and various production companies. It was Chris who contacted me with the idea to establish Maiden Voyage together. Prior to this, Chris had been associated with the Columbus-Vague Award at NYU, where he’d allocate funds annually to greenlight a filmmaker’s first feature. This led to notable films such as Dee Rees’ “Pariah” (2011) and Chloé Zhao’s “Songs My Brothers Taught Me” (2015).
CHRIS COLUMBUS Essentially, there was a committee of people, and a wealthy individual provided funding. I headed the creative team responsible for selecting who would receive this funding to create their first full-length movie. This process continued for two days. A year later, I’d receive a DVD from the filmmaker in the mail, which was exciting, but I didn’t form strong bonds with these creators. I never collaborated with them directly. Over time, I felt somewhat disconnected because I desired a more intimate, hands-on collaboration with the filmmakers. This is when I reached out to Eleanor about Maiden Voyage, seeking a closer involvement in their work.
Eleanor Columbus began her journey from New York to San Francisco on a Friday, following his call on a Wednesday, to establish their joint venture. Over the past decade, they have collaborated extensively, with “Nosferatu” marking their fourteen-movie partnership.
Speaking of your collaborations, I’m curious to know how you initially connected with Rob Eggers, who directed the third movie you made together, known as “The Witch.
Chris Columbus expressed that they initially became interested in Robert Eggers’ project after reviewing his conceptual art rather than the script itself. They didn’t join the production until Eggers was already in post-production, when he sent them a copy of the film. In their San Francisco office, around 2 PM, they watched the first cut of “The Witch” on a 32-inch TV screen under bright sunlight. The movie scared them intensely, giving them the feeling of being in a pitch-black movie theater. It was during this viewing that they realized the potential of Eggers’ filmmaking abilities and decided to assist him in completing his project. They felt compelled to support Eggers because of this, which ultimately led to the release of “The Witch.” This encounter also marked the beginning of their friendship and their relationship with Eggers.
Given your list of films, did you initially surprise Rob a bit with your interest in his projects? Was it necessary for you to recount the story about the initial Gremlins script that you’ve shared with him?
CHRIS COLUMBUS Chris Columbus is well aware of this fact. The predicament many directors encounter is that they are often labeled and confined to making certain types of movies, which can lead people to question their decisions to take on new projects or support unconventional work. However, the concept behind Maiden Voyage is to champion filmmakers with diverse styles and visions, who may not be working within the same genres as Columbus himself. It’s understandable for many to wonder why he would engage in such endeavors, but the goal is to promote a variety of filmmakers.
Hey there! Could we take a step back for a sec? I’ve always been curious, was your journey towards film school something that felt inevitable from the start, or was there a time when you considered other paths and maybe even resisted the family business?
ELEANOR COLUMBUS For me, it’s always been something that felt completely normal, never something to be afraid of. A significant portion of my youth was spent on movie sets, allowing me the unique opportunity to learn from Chris. I am also a strong supporter of film education, particularly NYU’s Tisch School Of The Arts, where I honed my knowledge of the art and delved deeper into the history of cinema, an essential aspect of my academic journey.
After the release of “The Witch” in 2015 and prior to “The Lighthouse” in 2019, efforts were made to bring “Nosferatu” to life. However, what transpired?
ELEANOR COLUMBUS Once we collaborated with Rob on completing The Witch, a natural rapport developed between us, as if we had been friends for years. Consequently, it was clear to us that we desired to carry on working together. We established Nosferatu a decade ago, however, the project reached a point where it couldn’t move forward. Eventually, we connected with Focus, and I must say, they are an exceptional studio, highly supportive of filmmakers. They played a crucial role in bringing this project to fruition. Naturally, all of us have been eager to make this movie for ten years, but now seems the perfect time. Rob also mentions this, as delaying the telling of the story served both the film and his creative instincts.
What else allowed for the stars to align finally?
CHRIS COLUMBUS In reality, it was Focus Features who were on board with us. We encountered some production houses that didn’t fully grasp our film. Some even proposed unappealing ideas about casting and plot developments, but Rob was firm about not altering anything. He wasn’t unwilling to modify a single word from his script, but he held a clear vision for the movie. After all, he had nurtured this idea since he was just nine years old! So, he refused to budge, which made some people at other studios apprehensive. However, when we joined Focus, Kujo [Peter Kujawski] and Kiska [Higgs] were incredibly supportive of Rob’s vision, as Eleanor mentioned, they are filmmaker-centric. They go beyond being friendly to filmmakers; they champion the director’s vision. As a result, Maiden Voyage was established so we could assist filmmakers in bringing their visions to life without the constraints of certain studios. Fortunately, we found that supportive environment at Focus, which allowed everyone to work collaboratively towards realizing Rob’s vision.
Were the controversial casting choices about Anya Taylor-Joy and Harry Styles not connected to the project? Initially, they were involved, but eventually, Lily-Rose Depp and Nicholas Hoult took their places instead.
ELEANOR COLUMBUS None of the above!
Chris Columbus hints that the person under discussion is not someone Rob proposed. The individual is likely American actors, around or over sixty years old, with no association whatsoever with Count Orlock, for clarity.
When collaborating with a director whose vision for this project has been nurtured over many years and carefully planned in detail, how do you propose adjustments that align with practical production considerations without shattering his dreams?
Chris Columbus candidly admits that accommodating directors’ requests might jeopardize Maiden Voyage as a company, but their approach is always to make the impossible possible. They assure directors, “Don’t worry about the budget; we’ll handle it.” This has been their modus operandi when working with filmmakers. Instead of telling them ‘no’, they say, “We want you to have what you desire. We will find a way to get it.” This supportive attitude has proved instrumental in helping Rob bring his vision to life. Columbus has encountered many producers and studio executives in the past who’ve responded with “I’m sorry, you can’t have this,” which he dislikes intensely. During the production of Harry Potter and the Sorcerer’s Stone, he was dissatisfied with a scene involving the kids falling into the Devil’s Snare. He requested to improve it with CGI, but an executive dismissed his concern, saying “It doesn’t matter if that scene is not as good as the other scenes in the film. It’s fine.” This experience made Columbus vow never to adopt such a dismissive attitude towards a filmmaker’s vision. Instead, he assures them, “We must help you find the best possible way of bringing your vision to life.” Both Columbus and his partner Eleanor share this unwavering support for their filmmakers.
ELEANOR COLUMBUS Absolutely. At Maiden Voyage, Chris’ extensive 40-year industry background offers a significant level of security. It’s comforting to have such assurance. What matters most to us is telling your story effectively, and that’s our top priority.
AS A GAMER: Instead of teaming up with peers my own age, I find it more rewarding to collaborate with the fresh, youthful energy that Eleanor brings. As filmmakers age and achieve success, they often become too set in their ways, believing they’ve got everything figured out: “I’m the best, I know all the answers.” However, this is a misconception. Many filmmakers today, despite their age, struggle to recapture the magic they had in their thirties and forties. Why? Quentin Tarantino might argue that only movies made within those decades are worthwhile, but I don’t entirely agree. I believe it’s more about maintaining a fiery passion and being open to learning from others. While I can’t say the film I recently directed is my best work ever, I’m confident that by staying open-minded and embracing the wisdom of younger creators, I’ll continue to thrive in this industry for years to come.
Eleanor Columbus confirmed that Chris helmed “The Thursday Murder Club” during the summer, and spending every day on the “Nosferatu” set alongside Robert in the Czech Republic significantly transformed his approach to directing.
Chris Columbus explains that Rob Blaschke, our cinematographer, carefully planned and storyboarded the entire film for over a year before we started shooting. For scenes involving dialogue, these were meticulously choreographed with the camera, giving the actors less control over their movements within the scene. Instead, the director and camera had already been pre-positioned after thorough planning. This was different from my usual approach, which is to work according to the Sidney Lumet method where actors and I would walk through a scene together, deciding on comfortable positions for everyone. As such, I needed to adapt to Rob’s style.
Frankly, I must admit that I was taken aback by Lily-Rose Depp’s exceptional acting in this role. In all fairness, she hadn’t had the chance to showcase such talent before, as this was her first opportunity of this kind since being cast. Were you aware that this level of performance was to be expected when you chose her for the part?
CHRIS COLUMBUS I had a sense of it from the initial script-reading itself. Rob had interacted with her and collaborated with her before the table reading, but we hadn’t witnessed anything yet. This was a typical scenario for Rob. We were aware that Lily had worked on other films and TV shows, but we hadn’t seen much of it. However, during the first couple of days of filming, we realized that we were in for something truly exceptional with Lily’s performance. She is simply outstanding in the movie, and she elevates her role to a higher level. Actors can often surprise you. With the right director guiding them, they can reveal their true potential.
Eleanor Columbus enthusiastically shared that Lily’s devotion to the project was simply extraordinary, encompassing her craftsmanship, acting skills, and every aspect of her performance. Lily fully immersed herself in the movie, and it seems she hasn’t had a role or a chance to excel as much as she does here. Simply put, Lily is exceptional in this film.
CHRIS COLUMBUS During our press engagements in the U.K., some journalists expressed surprise, saying, “Aren’t you British?” For the British, this is a significant compliment. They often comment on American attempts at British accents, comparing them to Dick Van Dyke’s portrayal in Mary Poppins. The Brits are usually critical of how Americans imitate their speech.
Without the ending credits or websites such as THR, I would have been unaware that Bill Skarsgard is featured in this movie. A small part of me wishes his appearance could’ve been a surprise at the end, but considering today’s era of instant information, it seems impractical to keep such details hidden.
CHRIS COLUMBUS In trailers and marketing materials for the film, Chris Columbus didn’t reveal Count Orlock, which is unusual nowadays. Eleanor and I had a chance to interact with Bill during the script reading, and we were present throughout the process of determining Count Orlock’s appearance and fitting his costume. So we were with him, and he was just Bill. But when he arrived on set wearing heels that made him around 6’8″, he dominated the entire crew with an intimidating presence. It took me nearly a month to work up the courage to greet him on set. In person, Bill was as terrifying as Orlock, and he became fully immersed in his role. One day, while in Count Orlock’s dining room, I managed to talk to Bill [in costume]. I asked if there was someone in the kitchen preparing the feast, and Bill responded with a five-minute comedy routine about Count Orlock cooking. This instantly lightened the mood on set. A moment later, he was once again Count Orlock, and we all scattered towards the shadows again. The transformation between the human being and the monster seen on screen is remarkable.
ELEANOR COLUMBUS Things were light-hearted until the day of filming when his voice dropped significantly while wearing the costume. For two weeks straight, I couldn’t get a wink of sleep. (Chuckles.) I was the one who produced Nosferatu, and I’ve been connected to it for nearly ten years, but I still can’t wrap my head around the fact that Bill is in this film.
Chris, there’s a line in Alexander Payne’s Sideways where Paul Giamatti’s character condemns merlot, and ever since then, it’s dramatically affected the real-life demand for merlot. I bring that up because Mrs. Doubtfire forever altered my relationship to cayenne pepper. I consider it a bad omen now.
CHRIS COLUMBUS (Laughs.) I’m grateful for your kind words and apologize sincerely. Recently, I’ve completed directing “Thursday Murder Club” alongside Pierce Brosnan, where surprisingly, Pierce takes on a comedic role. You may recall that he was the straight man in “Mrs. Doubtfire”, but it was the scene where his character chokes on cayenne pepper that made me realize his comedic potential. Consequently, my affection for cayenne pepper remains undiminished, and I’m delighted to contribute to the increasing apprehension towards this spice worldwide.
In a similar fashion, whenever I watch Home Alone, I find myself craving for Kraft mac and cheese, and the Talkboy from Home Alone 2 was an essential Christmas wishlist item back then. You’ve certainly sparked some demand with these creations of yours.
CHRIS COLUMBUS In the film Home Alone, we weren’t able to secure many product placements, so we were limited to featuring Juicy Juice and Kraft mac and cheese. We didn’t have any external support, and there was no merchandise associated with the movie initially. However, after its success, Home Alone 2 was made, and suddenly, Talkboy devices became ubiquitous.
Currently, Macaulau Culkin is traveling across the U.S., hosting screenings of Home Alone. Over the past few years, he has reconnected with that period in his life. At one point, he needed some space due to the overpowering nature of the entire Home Alone experience for him.
Chris Columbus finds it touching to witness his screenings being hosted and the way he’s embracing it. As a family man now, he understands the influence that “Home Alone” has on children and families. The enduring popularity of “Home Alone” is significant, and it holds special significance for me because, initially, the film was not well-received critically. It managed to be successful enough to run for seven months, holding the top spot until February 3, 1991. However, what truly matters to me is that the movie is still being played 34 years later. Additionally, it’s significant for me that Kieran Culkin has developed into a talented actor. He was in both “Home Alone” films, and I thought his performance in “A Real Pain” was exceptional. I would love to see Macaulay Culkin act more frequently. I haven’t been in touch with him for some time, but I heard he’s appearing in “Fallout” season two. So it would be wonderful if he could immerse himself in acting again because he’s truly gifted.
Eleanor, did you share the common affection for Chris’ movies among many ’80s and ’90s children, or was your connection with them so intimate that it made revisiting them during holidays difficult, as some people tend to do?
Eleanor Columbus (chuckles). It’s an abundance of treasures. My father has created some remarkable movies, some everlasting masterpieces. I cherish them, but as his daughter, I view them differently than the average viewer. Watching his films for me is a blend of pride, nostalgia, and memories. To me, Chris’s movies are incredibly personal. In college, if I missed him, I would put on Mrs. Doubtfire. When I watch those films, it’s as if I’m getting a warm embrace from my father.
In your upcoming directorial venture, it’s the intriguing “The Thursday Murder Club” that you’ll be tackling. This project not only brings you back together with your fellow cayenne pepper enthusiast, Pierce Brosnan, but also provides a connection to Steven Spielberg through Amblin. Can you share any insights on the future plans for Maiden Voyage?
CHRIS COLUMBUS I’m afraid I can’t discuss unmade projects, but it’s possible that “Thursday Murder Club” may be released next October. To be honest, I’m not sure about the exact release date as I only finished a 10-week edit on it today. We’ll show it to an audience soon to see how it goes, and right now our focus is on that project. Due to the time we spent on “Nosferatu” without developing anything new, we’ll have to miss the Sundance in 2025 for the first time in a while. However, we are currently reviewing scripts and hoping to start production on one or two projects in 2025.
***
Nosferatu is now playing in movie theaters.
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