Nicholas Hoult Caps Banner Year with ‘Nosferatu,’ Which Included a Surprising Rule from Robert Eggers

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As I delve into the captivating world of Michael Fassbender, it’s evident that his journey has been nothing short of extraordinary. Born and raised in Northern Ireland, he’s climbed the ladder of success one role at a time, leaving an indelible mark on our hearts with every performance.

Nicholas Hoult has truly outdone himself in 2024. 

The English actor has received the best reviews of his nearly three-decades long career for a trio of critically acclaimed films that were all timed to the final two months of the calendar year. To top it all off, he delivered a new take on Lex Luthor in James Gunn’s Superman (2025), one of the most anticipated and consequential releases in quite some time. A first look is expected next week.

Starting from November 1st, Hoult starred as the main character in what many consider to be one of Clint Eastwood’s best films in years. The favorable reviews from critics and audiences have kept the movie relevant in discussions about the year-end releases, despite a relatively limited theater release and a low-key awards campaign.

Releasing movies is tough because you invest so much emotionally and genuinely care about the outcome. Afterward, though, it’s no longer your possession – it transforms into something else. There’s always a bit of you that lets go, hoping it finds its niche among other productions. It’s gratifying to see the film has been well-received and has found an audience who enjoy it.” (Hoult, speaking to The Hollywood Reporter)

Five weeks following his role as Juror #2, Hoult reappeared on the silver screen in Justin Kurzel’s 1980s-set historical crime drama, “The Order.” In this production, he portrays Bob Mathews, a captivating yet perilous character who was the actual leader of the Aryan Nation offshoot, The Order. This extremist group carried out robberies on banks and armored vehicles as part of their complex plan to overthrow the federal government. Among his current roles, Hoult confesses that embodying Mathews’ mental state was the one he was most eager to relinquish, particularly after delivering an impassioned speech at a white supremacist rally.

Hoult remembers feeling a great force returning to him, which made the experience terrifying. He explains that you quickly become aware of the immense influence of those voices, and how they can stir up massive crowds and exploit people’s feelings to ignite passion.

On Christmas Day, Idris Elba reappears on the big screen as Thomas Hutter in Robert Eggers’ “Nosferatu”. Thomas is a struggling real estate agent who finds himself unwillingly accepting a job that requires him to travel from Germany to Transylvania for a critical encounter with Count Orlock (Bill Skarsgård). Similar to Justin Kemp in “Juror #2” and Bob Mathews in “The Order”, Thomas goes the extra mile for his family, particularly his distressed wife, Ellen Hutter (Lily-Rose Depp). However, he often does so in ways that have unintended consequences.

In 2022’s “The Menu,” Hoult collaborated often with Eggers partner Anya Taylor-Joy. After securing his role in “Nosferatu,” she provided him with a helpful orientation, except it lacked one crucial test.

In a conversation, Hoult shared that Taylor-Joy hadn’t advised against moving eyebrows during their work together. Previously, he had been working on a series titled “The Great” where his character allowed for numerous comedic eyebrow twitches and movements. However, for this new role under Rob Eggers’ direction, such actions were off the table as Eggers dislikes them. This was initially strange for Hoult.

During the interview that followed, Hoult gracefully steered clear of accepting any praise for himself, instead directing it towards his fellow collaborators. When Gunn’s recent statement about Lex Luthor being the “most imposing” on-screen portrayal of the character was brought up, he appeared somewhat reluctant to accept such a compliment. Instead, he emphasized more on the exceptional quality of Gunn’s script and the “extraordinary” performance delivered by his co-star David Corenswet as the latest Man of Steel.

Recently, Corenswet shared an anecdote about a playful bet he had with Hoult during the Paris Olympics. Intriguingly, Corenswet emerged victorious in a challenge that involved guessing the scores given by high-diving judges with remarkable accuracy. Although this contest seems to hint at life mirroring art, Hoult clarifies that their on-screen dynamic did not seep into their off-screen interactions.

Hoult clarifies that there was no secret attempt to foster rivalry among us. It would’ve seemed forced and insincere, which wouldn’t have been advantageous due to the overall vibe. Instead, we are two actors capable of distinguishing our roles within a scene while also supporting each other and what’s best for storytelling at that particular moment. I’m there to back him up, and he portrays Superman in such an admirable manner.

In their latest chat with THR, Hoult talks about Skarsgård’s remarkable transformation into Count Orlock. He also shares that he occasionally tended to Skarsgård during breaks in filming due to his uncanny resemblance to the character off-screen.

How did you feel when you discovered that all three of your year-end movies were going to be released within a space of just two months?

I found myself remarking, “Wow, there will be a lot of media coverage ahead,” which took me by surprise. We filmed the movies consecutively in 2023, but I hadn’t anticipated their releases being so near. It’s pleasing that they are distinct films with unique characters, as you pointed out, but given they all represent a pivotal moment in my life, it’s fitting to now discuss them concurrently.

Could you identify a common thread among the three characters? One possibility is that they are all prepared to take extraordinary measures for their spouses, families, or lovers.

(Chuckles) Indeed, I’ve noticed some similarities among the three, yet haven’t grouped them together before. Your observation seems accurate. Each of them, in their own way, shows a lack of understanding or incorrect assumptions.

Hey there! Last time we chatted, you and Anya Taylor-Joy were discussing your upcoming collaborations with Robert Eggers and George Miller. I’m curious, was the Eggers project as exciting as Anya made it sound?

It was completely as Anya advertised in the most wonderful way. Rob is just a phenomenal filmmaker. He really is. His dedication to the craft and understanding of cinema and the historic base that he builds his stories on is so authentic to the worlds he creates. He’s also uncompromising in his vision and his story and in bringing them to life in the way that he imagines. So that’s a wonderful energy to be around, and for Anya to work with him so early in her career, I can see how she became such an incredible actress. I can see how working with him and learning from him improves people as performers, and that appealed to me in doing this movie. I’m such a fan of the performances in Rob’s movies, and I wanted to go behind the scenes to see how that works.

Did she give you a heads-up about his dislike for eyebrow acting?

(Laughs) One thing she didn’t mention was, “Try to keep your eyebrows stationary.” I had been working on a series called “The Great” for some time, and with that character, I could get away with a lot of comedic eyebrow twitches. However, this wasn’t suitable for this role as Rob dislikes it. He provided me with several Bergman films and numerous other movies to study for “Nosferatu“. These films have minimal brow-based acting, which is something that Rob isn’t fond of. This was initially strange to me; I had to adjust my approach, focusing on keeping my eyebrows as motionless as possible throughout the entire film.

Did they ask you about any discomfort with rats when you were chosen to play the character Thomas, since that might have been a deciding factor for some potential actors?

As a gamer, I found myself not being the one who had to deal with the hair-raising encounters with rats on set like some of my fellow actors did. While I shared screen time with these rodent co-stars, others like Bill and Emma faced more intense situations – Bill was even confined in a sarcophagus with them! Emma, on the other hand, had to contend with rats scurrying all over their body. For me, my scenes with the rats were more like friendly encounters rather than daunting challenges, making it a bit easier for me to navigate those situations.

Was it The Menu that originally had a scene where you’d have to eat a rat?

In that movie, “The Great”, my character had been outmaneuvered by Elle Fanning’s character. The scene required me to eat a rat, however, they replaced it with a squirrel, which is considered a flavorful delicacy in certain regions. Despite never having tried one before, the squirrel did resemble a rat once it was placed before me. To be honest, it was quite unpleasant.

As a dedicated fan, I can’t help but marvel at the intricate, emotional exchange between Lily-Rose Depp and myself in the closing scenes of Nosferatu. With multiple twists and turns throughout this heartfelt confession and confrontation, it seemed like we were navigating through a labyrinth of emotions. Given the complexity of these dynamics, I’m curious to know if that six-minute scene demanded extensive rehearsals to ensure its impactful delivery?

Absolutely, it was an incredibly moving scene, meticulously crafted by Rob, showcasing the pinnacle of their relationship and journey. The script unfolded layers upon layers, intertwining beauty with heart-wrenching emotion. During preparation, we worked on the blocking and camera positions to ensure everything fell into place. However, due to the intense physical and emotional demands of Lily’s character, we didn’t rehearse it fully. Instead, we mapped out the general layout and saved the real performance for the day itself. Being present during that scene was awe-inspiring, as Lily delivered a dynamic portrayal, seamlessly transitioning between Ellen in reality and her possessed self. Her performance was nothing short of powerful, a testament to her talent and dedication.

I love what the make-up team did with you at certain points because it looked like they accentuated and outlined the shape of your skull. Was the idea to turn him into a living skull?

Thank you. (Laughs) “You looked like a living skull.” 

It’s meant to be a compliment, I swear!

(Laughs) Rob requested me to shed some pounds for the film, so I was approximately 20 pounds less than my usual weight. This reduction, along with the superb work by the makeup team, was instrumental. The character of Thomas experiences a lot in this movie, thus they added a distressing appearance with sunken cheekbones for a more authentic look. That makeup was truly remarkable, effectively portraying Thomas as if he had endured hardships that sent him to the depths of hell.

Based on the film’s cast list, Bill Skarsgård is featured in this movie, but if you’re suggesting he isn’t, I guess we’ll need to trust your information.

(Laughs)

Have you ever been in the same dressing room as him, where you saw him change dramatically into someone almost unrecognizable?

Actually, I didn’t participate in what was said earlier, but it’s been quite intriguing. People have commented, “I watched 20 or 30 minutes of the movie without realizing Bill was on screen.” Later, they realized he was there all along, they just hadn’t recognized him. Bill’s performance in this film is utterly transformative and captivating. Everything about his character has been altered: his physical appearance, makeup, and voice. However, due to his use of prosthetics, he had a separate makeup trailer from the rest of us, so I didn’t get to witness the transformation unfold.

Jude Law mentioned to me recently that Justin Kurzel deliberately planned the shooting schedule for The Order so that you wouldn’t meet until your incredible scene at the lake was filmed. Did Rob keep you and Bill apart during filming in a similar way for a similar effect here?

In essence, he didn’t fully isolate us from each other during filming. Due to Bill’s specific makeup requirements, we were often separated, like being in different trailers. However, I’ve had experience with prosthetics before, as the X-Men’s Beast, and I understand how demanding and isolating this process can be. So, during breaks between shots, I would attend to Bill’s needs, but also maintain a distance to stick to our work. Rob does an excellent job of setting a welcoming atmosphere on set, with thoughtful lighting and background music, making it easy to immerse oneself in the film’s world genuinely.

Was Count Orlock’s guttural voice really there on the day? 

Indeed, it was quite extraordinary. The voice seemed to have an otherworldly quality, making one wonder if it had been enhanced or amplified in post-production to add depth and resonance. However, I can assure you that the voice you heard was genuinely Bill’s on that day. I still vividly recall the first time I listened to a recording of it on Rob’s phone during our rehearsals. My initial reaction was something along the lines of “Wow, this is so unexpected yet brilliant! It perfectly captures what one would imagine a 200-year-old Transylvanian nobleman might sound like.” What truly made it captivating in many ways was the intricate breathing behind it, a detail that Bill meticulously crafted.

As a devoted admirer, I’d like to share that Thomas and the remarkable Aaron Taylor-Johnson were once fellow students who shared a rich history, much like you and I might have.

Absolutely, Aaron has been a part of my life for approximately two decades, though the precise duration escapes me. We grew up together in the U.K., fostering a long-standing friendship. When Rob mentioned that he would portray Friedrich, I was delighted because our off-screen camaraderie would translate well onto the screen. Moreover, Aaron is an actor of great talent from this generation, known for his daring choices and commitment to his characters, resulting in captivating performances on screen. It was genuinely enjoyable to share scenes with a friend, someone I admire deeply and hold in high regard, and witness his transformation for this role.

I love that you’ve now worked with the two ATJs, Aaron and Anya.

(Laughs) The two ATJs! That’s right.

When Thomas boards the carriage heading towards Count Orlock’s castle, he finds himself lifted off his feet. Was I perhaps placed on a wheeled platform or something similar?

Indeed, you’ve picked up on some intriguing aspects of that part in the film. Throughout Thomas’s voyage, there are many haunting, dreamlike elements that create a unique atmosphere. Instead of ascending steps to enter the carriage, I stepped onto a lifting platform that elevated me inside. Details such as these, along with the thoughtfully crafted shots by Rob and his cinematographer Jarin [Blaschke], contribute significantly to the film’s overall eerie yet captivating ambiance.

In another intriguing instance, Thomas stirs awake following the horse-drawn carriage journey. Initially, the camera angle is positioned above Thomas’s head, suggesting I was still standing. To deceive the viewers, a set of false legs were used, appearing to be seated within the carriage beneath a coat. However, as the camera descends and pans, the fake legs and carriage vanish, revealing that I had been standing all along before exiting through the door. This clever shot composition, coupled with Rob and Jarin’s skillful creation of tension throughout the film, makes for an enchanting cinematic adventure. They maintain an unbroken spellbinding atmosphere, never letting the audience escape from that captivating dreamlike realm they’ve crafted.

Thomas’ inner thoughts are primarily filled with a sense of shame as he struggles to meet his wife’s needs in the manner he desires. Bob, in The Order, harbors a great deal of resentment because he believes the country should cater entirely to individuals like him. Lastly, Justin in Juror #2 grapples with guilt and fear about his actions and their potential impact on his growing family. Of these three, I’d rather avoid occupying Bob’s headspace again due to his apparent unrealistic expectations and resentment.

It was quite challenging to delve into the mindset of such a character, given Bob’s intense hatred and complex ideology. To truly grasp his character, I had to immerse myself in understanding him, which turned out to be an arduous task. However, it’s important to note that Bob also strives to build a community and family, using this facade as a means to manipulate others. Thus, the process of researching and comprehending his character was both intriguing and challenging.

Justin’s mental state is quite challenging due to the burden of guilt he carries, which he must keep hidden and carry alone. Consequently, holding everything inside only intensifies his suffering.

As a gamer, I wish I had grasped Ellen’s feelings earlier, not waiting until it was too late. If I could have empathized with her emotions sooner, perhaps I wouldn’t have thought that acquiring a larger home and wealth would magically solve our issues. Consequently, I might not have embarked on this journey, thereby avoiding the cascade of problems that followed.

To respond to your query, I’d rather avoid being in Bob’s state of mind once more.

Of course, taking on Bob’s role and delivering such an emotional speech to a crowd of white supremacists wouldn’t have been simple. Even though it was a fictional scenario, I must admit, I felt relieved when the scene was over. How about you?

Until that moment, we hadn’t filmed any scenes delving into the grim reality that underlies The Order. It was challenging, but it was also our first attempt at such a scene, and the supporting cast in that room provided an unexpected response. There was a palpable energy returning to me, and that’s what made the experience scary – you could feel the power of those voices, their ability to stir up masses of people, and their potential to exploit emotions to ignite passion. Therefore, this scene marked a significant milestone in the production of The Order. It was as if we were saying, “Wow, this is truly terrifying what we’re revealing.

Given that Clint Eastwood has a reputation for performing scenes in just one take, did you experience increased pressure to get it right the first time when filming a scene?

In the role of Juror #2, I was cognizant of Clint’s reputation for requiring only one or two takes, with exceptions made if adjustments are necessary or technical issues arise. However, there is a certain freedom in this approach that I found appealing. Clint cultivates a serene and laid-back environment on set, which allows for a smooth creative flow. Perhaps it’s due to the fact that Clint is musically inclined; he appreciates jazz and has an innate trust in the creative process. Consequently, minor mishaps that might typically warrant a retake are what gives scenes a sense of reality and authenticity. Essentially, Clint emphasizes capturing the emotional truth of moments rather than overly controlling them to fit his preconceived notions of the story. After becoming accustomed to it, I found the experience enjoyable, but it did require some initial adjustment.

Let’s consider the garage scene as an example. Zoey Deutch’s character asks Justin for comfort, yet Justin is struggling with his feelings of guilt. Initially, he appears normal, but as the camera switches back and forth, his face becomes increasingly flushed. Even in such an emotional scene, the focus didn’t linger excessively, right?

I’ve given considerable thought to that particular scene. Earlier, I mentioned how Justin only confides in Kiefer Sutherland’s character, who serves as his lawyer. He harbors this secret deeply, and the flush on his face signifies the imminent revelation of the truth to the one he cherishes most, his spouse, his wife. Zoey portrayed that scene brilliantly with her emotional intensity. The weight of all his concealed anguish surfaced in their relationship, leading to a situation where it’s unexpected that they could suppress it for their family’s sake in the future.

The protagonist is portrayed as a virtuous figure, yet his actions, although reasonable for self-preservation, aren’t always the most compassionate options. It was intriguing to explore how far the narrative could push the audience into empathizing with this character, revealing their own moral compass. I found myself contemplating that critical scene quite a bit, but ultimately, one must learn to detach and move forward.

I believe we all hoped for a more prominent launch of Juror #2, but despite this, it’s continued to stay relevant through lists like NBR’s and numerous home viewing rankings. Does its continued presence on these lists due to its quality give you optimism?

Releasing movies is always challenging because you invest so much emotionally and genuinely care about the outcome. You also have concern for all those involved, wishing only the best for it. Your aim is to create a quality film with an engaging story that resonates with audiences. However, once released, the movie is no longer yours; it takes on a life of its own. Many films have struggled initially but found success later on. Consequently, you learn to let go, hoping they find their niche among other productions. It’s rewarding to see that the film has been well-received and has found an appreciative audience who enjoy it.

As a gamer, I’ve had quite a few encounters, both on and off the screen lately: Nick Cage, Hugh Grant, Daniel Kaluuya, and Toni Collette, who played my mom in About a Boy, was another encounter in Juror #2. At first, it felt strange transitioning from a mother-son dynamic to one that’s completely different, but we managed to slip back into our roles seamlessly.

Reflecting on our long-awaited reunion, it struck me profoundly how much I’ve evolved since we last worked together on “About a Boy.” Yet, she remains the beacon of light and source of joy I remember so vividly. Her nurturing care for me then still resonates now, making our encounter all the more heartening.

I can’t help but feel that the portrayal of Lex Luthor in this series is the most awe-inspiring and powerful take on the character I’ve ever seen on screen, and it’s all thanks to James Gunn’s brilliant direction!

(Hoult receives this praise with a degree of flattered disbelief.)

Was that your jumping-off point? 

It’s uncertain if that was our initial starting point, but James’ scripts are simply remarkable. He has a profound grasp of storytelling and filmmaking, which makes his movies a joy to watch. I have absolute faith in him. We debated the tone of certain scenes and the development of the character Lex in this movie, from his introduction to where he ends up. Collaborating with James was a thrilling experience because he challenges me creatively. Each day on set, I left eager to return, so I thoroughly enjoyed the whole process working with James. It felt exhilarating to explore where he envisioned this character might go, and I hoped to bring the energy he desired to his written words. Indeed, you want him to come across as imposing and dangerous when portraying a villain. That’s something inherent in that character.

David Corenswet mentioned that at the Paris Olympics, there was a contest between the two of you, where the objective was to accurately guess the judges’ scores for the high diving performances.

(Laughs) He did. I can’t believe he’s sharing this information. It’s very embarrassing.

As we’re going head-to-head in the game, it makes me wonder if there was some real-life rivalry or competition between us off-screen as well.

We didn’t intentionally foster a competitive environment during filming. David is an exceptional individual and a superb actor, while James’ set fosters a collaborative and creative atmosphere among all its members. Therefore, there was no attempt to artificially generate rivalry off-screen. It would have felt forced and unauthentic, which wouldn’t have served the overall project well. Instead, we are two actors who can distinguish our performances within scenes while also supporting each other for the sake of the story. I’m there to support him, and he portrays Superman in an amazing manner. I’m really looking forward to viewers seeing his performance, as I think it’s outstanding.

Besides participating in challenging diving contests, it’s also worth mentioning that you discussed your love for racing in a THR article. This suggests that you have a strong competitive spirit. Could this competitive edge play a role in securing acting roles or receiving awards?

This might sound strange, but it comes out more against myself. It’s very easy to be competitive within car racing because it’s timing and lap times. What matters is how fast you are, and that’s what I enjoy about it. In the film world, it’s more subjective, and I enjoy stepping outside of that. But, yeah, I definitely am a competitive person. I’ve just focused it more on what I can control, and that’s working harder and paying attention to the right things.

Did watching Furiosa earlier this year cause any intense emotional responses during certain battle rig scenes? Did it seem like you were taken back to the actual filming location of Mad Max: Fury Road in Namibia?

Absolutely, I found myself deeply immersed, and it’s George Miller’s knack as a director that he manages to whisk you away. Having familiarized myself with the universe during the preparations for “Mad Max: Fury Road,” it was captivating to revisit this magical realm on screen once more, not just as a filmmaker, but as a fan. I recall George had the script at that time. So, it was intriguing because I was already acquainted with various aspects of the world, like the Bullet Farm and such. For us working on “Fury Road,” these details expanded the universe we were constructing, even if they weren’t explicitly shown in the film. Therefore, it was thrilling to witness the expansion of George’s created world, and I couldn’t wait to see it unfold as a fan. The movies are also incredibly exhilarating, and Anya’s performance in that role was commendable; she was simply brilliant.

By the way, have you ever shared what Ralph Fiennes told you during the scene from “The Menu”? Was that a moment reminiscent of “Lost in Translation” for you?

He had varied his responses, and I recall multiple instances, yet I’ve kept those variations hidden. It adds suspense to keep them concealed.

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Nosferatu opens in theaters on Christmas day.

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2024-12-13 23:58