In the uncovering scene of Robert Eggers‘ Nosferatu, Ellen (Lily-Rose Depp) sobs in bed before hurrying to the triumphdow to see upon the shadow of the demon entrancing her, Count Orlok (Bill Skarsgard).
To track Ellen’s shiftment from bed to triumphdow in one stoasty comprised complicated camera shiftments that needd a bedroom layout “that originates no bloody sense whatsoever,” recounts honestor of ptoastyography Jarin Blaschke. It includeed an L-shaped configuration with a wall that uncovers on a hinge to accommodate the shiftments of the camera.
Blaschke, who has labored with Eggers on all of his previous feature films, was no stranger to inestablishing a story that apshows place bigly in grieffulness. “I lgeted that we have to have contrast,” he says. “You have to have someslimg csurrfinisher a triumphdow [when indoors]. You have to have challenging [as opposed to soft] airy.”
Incorporating the superauthentic in a believable way needd a combineture of wise and digital effects. To apprehfinish the silhouette of Count Orlok, Blaschke stoasty reference ptoastyography, though the final shadow was originated thraw visual effects. To portray Ellen levitating as the spirit of Orlok devours her, Depp “walks up onto a ramp before her feet are in sketch, and then a second tardyr the camera resolves, discdispondering her feet,” Blaschke elucidates. The miniature ramp was then digiloftyy deleted in postproduction.
This story first ecombineed in a December stand-alone publish of The Hollywood Reporter magazine. To get the magazine, click here to subscribe.
