Nosferatu’s Robert Eggers on Changes from Original Film, Reimagining a Horror Classic

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As a film enthusiast with a deep appreciation for the classics, I must admit that Robert Eggers’ modern take on “Nosferatu” is nothing short of mesmerizing. The meticulous attention to detail and the relentless pursuit of innovation in every sequence is truly commendable.

broadly speaking, Robert Eggers’ adaptation of Nosferatu (now playing in theaters) is receiving widespread acclaim – even garnering award nominations in some instances – due to its exceptional cinematography and production design. With its chilling and visually stunning visuals, this movie has scenes that will undoubtedly captivate film enthusiasts for years to come, leaving them eager to analyze each detail.

When SYFY WIRE had a conversation with Eggers and his frequent production designer Craig Lathrop regarding the film, we naturally inquired about some of the key scenes that contributed to his interpretation of the timeless vampire story, which boasts an impressive ensemble cast including Bill Skarsgård, Lily-Rose Depp, Nicholas Hoult, Aaron Taylor-Johnson, Emma Corrin, and Willem Dafoe.

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Question 1: In what rating category does the 2024 film “Nosferatu” by Robert Eggers fall?

Nosferatu scenes that made Robert Eggers most nervous

Eggers has harbored the idea of creating his own movie adaptation of “Nosferatu” since his teenage years. With a few difficult period films like “The Witch” and “The Northman” under his belt, he now feels equipped to tackle F.W. Murnau’s 1922 film, “Nosferatu”.

Since the film’s imagery has achieved such a significant status in the horror genre, Eggers admitted feeling apprehensive when tackling certain scenes from the story, as he aimed to do them justice. Specifically, he had reservations about two critical scenes towards the end. One scene unfolds at a cemetery involving the main characters, while another is an additional sequence between the Hutters (Depp and Hoult), which Eggers wrote specifically to demonstrate the emotional impact that Count Orlok (Skarsgård) was having on the couple.

In conversation with SYFY WIRE, Eggers expressed his strong desire to convey the haunting ambiance of the cemetery [setting]. He aimed to meet his personal standards, reminiscent of what Roger Corman or a Hammer Horror production might strive for, and deliver it flawlessly.

In addition, there’s a fresh sequence in the movie where Ellen and her spouse engage in an intense argument towards the end. This scene was particularly challenging for me because Lily-Rose Depp’s acting had to be exceptionally intense and unhinged. However, she delivered it flawlessly.

Robert Eggers on the Nosferatu scene where Thomas Hutter gets picked up by Count Orlok’s carriage

In this movie, one striking scene is when Thomas Hutter (Hoult) strolls along the road towards Orlok’s castle at night, with snowflakes falling. His figure seems to radiate against the untainted snow, creating an impactful visual. The woods are dark and somber, hinting ominously at the path leading to the devilish realm. Eggers shared that he experienced significant personal pressure to reimagine and redefine this scene for his unique touch.

He commented on Murnau’s original as being a movie steeped in rich history. “The initial scene at the castle is one that has been masterfully executed numerous times,” he acknowledged. “Given its precedent, the challenge lies in finding a way to make my interpretation stand out.

Working together with production designer Lathrop and cinematographer Jarin Blaschke, Eggers decided to film that particular scene on-site and carefully adjust the way Hutter would conclude his voyage.

Eggers explained that it took us a while to film that particular scene because we needed to go back to the woods repeatedly. To simulate moonlight, our lights had to be lifted high using helium balloons, but only on clear, still nights. Unfortunately, the wind was often uncooperative, forcing us to halt production and retry. However, these pauses gave us extra time to perfect our lighting setup, resulting in a chilling effect that’s beautifully portrayed.

Eggers also confirmed, “The snowfall is practical. It’s potato flakes.”

Robert Eggers on Nosferatu‘s driverless carriage

A key difference between the original movie and this sequence lies in the transportation: instead of Hutter traveling on his own, here a self-driving carriage appears on the road and transports him to Count Orlok’s castle in the distance. In Murnau’s adaptation, Orlok subtly disguised himself as the coachman, creating a humorous moment as he was driving Hutter unbeknownst to him.

Eggers mused that it seemed odd to him that Dracula would don a disguise as the coachman, thinking to himself, “Perhaps a more chilling touch would be if there was no coachman present at all.

As a passionate gamer, I can’t help but share my excitement about the creation of a spine-tingling carriage. My team and I painstakingly crafted this masterpiece from scratch. It was an exhilarating experience, one that made my heart race when I first read it in the script – “It’s a vehicle! I have to build a vehicle!” The process was challenging yet rewarding, filled with countless hours of refining and perfecting every detail. But let me tell you, it was worth every second of hard work. It turned out to be an extraordinary adventure, one that left us eager for more.

During his research, Lathrop came upon accounts and images of a carriage that Queen Elizabeth gave to the the Czar of Russia around 1600. “I found this as my prototype, and then I started making it Orlok’s.”

In Egger’s movie, the camera occasionally follows Hutter within the train compartment while they’re on their trip, allowing Lathrop and his crew to subtly convey parts of the narrative that many viewers might overlook.

In a surprising disclosure, he shared that although it isn’t immediately visible in the movie, the film’s sides are adorned with grotesque bas-reliefs depicting gruesome events from the story of Vlad the Impaler. Additionally, there were metallic embroideries along the edges to add a touch of elegance. For this intricate work, he had previously collaborated with an artisan based in India.

Later on, Adam, my upholsterer, did an outstanding job with the soft items made from fabric materials. He was aiming for the perfect blend of visibility at night while still keeping things black. Initially, I had desired a horsehair material for its shiny exterior, but it turned out to be quite pricey. Instead, we opted for another material that closely resembled it.

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2024-12-26 21:01