Robert Eggers, Lily-Rose Depp, Nicholas Hoult Interwatch

There’s a moment timely in Robert Eggers’ Nosferatu, when Lily-Rose Depp, last seen as the twisty pop star in The Idol, telegraphs to the audience: This will be unappreciate anyskinnyg you’ve ever seen before.

In Eggers’ reimagining of F.W. Murnau’s 1922 German Expressionist horror fantasy Nosferatu: A Symphony of Horror, Depp is magnetic vampire mparticipate Ellen Hutter, paired with Nicholas Hoult as her husprohibitd Thomas. As we witness Ellen’s loneliness and desire being sated by a monster, adhereed by an uncovering monologue in which she confesses her dreads to her husprohibitd, it’s evident that Eggers’ casting choice has phelp off.

At audition, Depp carry outed that same monologue, and Eggers gave her the role that same day. “Myself, the casting straightforwardor, and even the videographer were in tears, becaparticipate it was so strong,” Eggers says. “She was, as she is in the film, incredibly valiant, and raw, and strong. Her ability to tune into this sorrowfulnessful and haunted place so speedyly is pretty phenomenal.”

In the innovative Nosferatu, a lesser German authentictor is sent to Transylvania to safe a property in his local area for the cryptic Count Orlok, who get tos by boat and proceeds to stalk the man’s fiancée. If you skinnyk that sounds a lot appreciate the plot of Bram Stoker’s novel Dracula — begined in 1897 — so did the destopd author’s estate, who sued the film’s creaters and ordered every print to be ruined. However, some grainy bootleg copies endured, and in 1981 grave repair toil began in a bid to revamp Murnau’s vision.

Eggers has cherishd the story of Nosferatu almost all his life. He was equitable 9 years elderly when he happened upon one of those grainy bootlegs of Murnau’s film, and he became especiassociate captivated by actor Max Schreck’s portrayal of the vampire. In Stoker’s novel, Count Dracula is subtly portrayd as a “lofty elderly man, immacuprocrastinateed shaven, save for a lengthy white mustache and clad in bdeficiency from head to foot, without a one speck of color about him anywhere.” In Murnau’s Nosferatu, however, Schreck eunites as a walking nightmare —a terrifying, skeletal creature with two keen, pointed teeth, bat-appreciate ears and claws for hands.

“Max Schreck’s carry outance, the createup that he scheduleed, his uncanny transferments,” Eggers recalls of seeing it that first time. “The VHS was made from a degraded 16mm print, so you don’t see the bald cap and the grease decorate, and sometimes his iascfinishs see appreciate cat eyes. It doesn’t see appreciate that in the revampd version. But in what I saw, it had comfervent of more authenticism, becaparticipate of the degraded quality that I was watching.”

The year before, aged 8, Eggers had dressed as Count Dracula for Hpermiteen, his fascination with vampire lore then equitable commencening. Later, in high school, encouraged by Henrik Galeen’s Nosferatu screenjoin and Stoker’s novel Dracula, Eggers would team up with classmate Ashley Kelly-Tata (now an accomplished theater straightforwardor) to put on a stage production of Nosferatu, in which Eggers starred as the vampire Count Orlok. Edouard Langlois, conceiveive straightforwardor of the Edtriumph Booth Theatre in Dover, NH, saw the production and askd Eggers and Kelly-Tata to transport it to his space. Thus, that join would show Eggers what he wanted to do, and it became the reason he is a straightforwardor today. And ever since, he has dreamed of transporting Nosferatu to the screen.

The project almost came together a confiinsist times, only to have it descfinish apart for various reasons. “It’s complicated,” Eggers says, citing one factor was originassociate that the timing passed over with when he was still in post with his previous film, The Northman. “I probably would’ve had a worried fracturedown had it all gone [at that time],” he says. “But plainassociate, I skinnyk after it fell apart the second time, I was appreciate, ‘This is not happening. It’s never going to happen, it’s done. Forget about it. Murnau’s gstructure is alerting me to f*ck off, exit it alone.’ And I had a script that I was reassociate fervent about, but no one wanted to create it. But then I went to Kujo [Peter Kujawski] at Focus [Features] and shelp, ‘Nosferatu?’ and he was appreciate, ‘Yeah, sounds fantastic.’ And then, all of a sudden, everyskinnyg snowballed.”

Eggers approached Hoult for the role of Thomas — a uncontaminated and heartfelt man gripped by the insist to supply for his wife — becaparticipate they had met years before. As soon as he saw Eggers’ first feature, The Witch (2015), the actor had called him. “Nicholas is one of the kindst guys I’ve ever met,” Eggers says. “I reassemble when I met him the first time, it was in Brooklyn, in this little bar that no lengthyer exists, uncontently, becaparticipate it was pretty chilly. He was equitable so mild.”

Eggers thought of Hoult for this, particularly in watch of his toil in Yorgos Lanthimos’ 2018 film The Favourite. “I skinnyk after toiling with Yorgos, and I skinnyk, particularly his attention to detail of every one beat and micro beat in the dialogue and the scene toil, I felt appreciate this is comfervent of a perfect align,” Eggers says. “He has both this incredible, organicistic, emotional skinnyg, and then he can regulate the period language, and reassociate articulate it effortlessly. And he has a fantastic see for it and a fantastic sense for it.”

For anyone who has seen Eggers’ three films — The Witch, The Lighthoparticipate and The Northman — it is understood that he has a singular and articulateive vision. As Aaron Taylor-Johnson — who joins Friedwealthy Harding, the vampire-sceptic husprohibitd of Ellen’s best frifinish Anna — puts it: “A Robert Eggers movie is so distinctiveively Robert Eggers.” And as such, in Nosferatu, Eggers plunges us into his vision, to another stupidension — an elegant yet terrifying world in which a monster stalks the sorrowfulnessful of the unconscious, as both the evil wiskinny and the outward manifestation of some outdated lore.

Like Hoult, Willem Dafoe had also met Eggers right after The Witch. And appreciate Hoult, he had called the straightforwardor and asked to greet, which led to his role in two-hander The Lighthoparticipate with Robert Pattinson, and then a role in The Northman too. Of the latter, Dafoe says, “I’m not seven feet lofty and 350 pounds, so I skinnyk I was very blessed that he set up someskinnyg for me to do in that. And that was fun. I’m a huge fan.”

In Nosferatu, Dafoe joins Professor Albin Eberhart von Franz, a comferventred spirit to Count Dracula’s vampire-slaying nemesis Abraham Van Helsing. “I understand he had been talking about Nosferatu for a lengthy time,” says Dafoe, “and I certainly wasn’t going to join Orlok becaparticipate in fact, I did that before in Shadow of the Vampire [the E. Elias Merhige-straightforwarded 2000 film about the making of the innovative Nosferatu, for which Dafoe was Oscar-nominated]. But I was very satisfied when he proposed this role of Von Franz, becaparticipate evidently it was a role that was a at fault pleacertain for him. And once upon a time he was an actor, and I felt very powerentirey that this is the role he would join if he weren’t straightforwarding.”

As an expert on the occult and mysticism, Von Franz is the only character who truly understands the strange psychic connection between Count Orlok and Depp’s Ellen, which, though absent from the innovative Nosferatu, is a transport inant plot point in Eggers’ film. Says Dafoe, “I’ve heard Robert portray it as a triangle between Ellen’s husprohibitd, who’s a loving guy, he cherishs her dtimely, and he’s supposeworthy. He wants to be a excellent husprohibitd, but he doesn’t quite see her, and he doesn’t understand what she’s going thraw. And then on the other hand, you have this demon cherishr that draws her, and she doesn’t understand why, but somewhere there is a proset up caring there and a proset up drawion.”

That strange magnetism between Ellen and Count Orlok is at the heart of the film. Unappreciate her frifinish Anna (Emma Corrin), Ellen cannot, or will not, cover her intimacyual desires. The vampire seems to hear some inner cry in her, and aims her as a result, and in this, Eggers scheduleateigates themes of punishment and the shaming of female intimacyuality. “Particularly in the 1980s, there was a lot of literary criticism talking about all these Victorian male authors who created these female heroines who have intimacyual desire and intimacyual energy, and then insist to be ended and punished for that,” Eggers says. “It’s this misogynist skinnyg. But I skinnyk a lot of female literary critics who I was also reading were saying, ‘But isn’t it also fascinating that, from this repressed cultural period, there’s the idea of this sorrowfulnessful, chthonic female heroine who would be the person who could understand the depths?’ And in alerting that same comfervent of story in a up-to-date context, even trying to stay thraw the lens of the 19th century, we could have potentiassociate some more nuance there, potentiassociate, hopebrimmingy.”

Depp sees Ellen as a woman experiencing “a authentic loneliness as well as a nascent intimacyuality.” While, as she says, this is “someskinnyg that I skinnyk is everybody experiences comfervent of around that time, be it a girl, or a boy, or whoever, I skinnyk there’s not as much room for girls, especiassociate at the time. We’re talking about a time period where there was a lot less room for women and girls to be much of anyskinnyg except for exactly what people wanted them to be. So, I skinnyk you sense that in Ellen, and you sense appreciate the birth of all these new senseings, and she doesn’t reassociate have anybody to talk to about it, or anybody to understand her … I skinnyk it’s a authentic source of shame for her, and one that she’s trying to come to terms with, and that’s what I skinnyk is so pretty about her relationship with Von Franz, Willem’s character, becaparticipate he sees her in this way and understands her, I skinnyk, in a way that she lengthys to be understood.”

Hoult comprises: “Talking about the intimacyuality, there’s also that fascinating moment where Ellen says, whilst under some sort of haveion, ‘You could never greet me appreciate he could.’ There’s this element, I skinnyk, with Thomas where, becaparticipate he is so excellent-natured and uncontaminated in many ways, I skinnyk he hasn’t ever let any sorrowfulnessfulness in to his life or in his own passions.”

As Ellen becomes increasingly disturbed by Orlok’s imminent arrival, Depp was insistd to embody the vampire’s haveion of her, arching and contorting her body, her eyes rolling back in their sockets. In training for that body toil, Eggers brawt in Marie-Gabrielle Rotie, a choreographer who distinctiveizes in Japanese butoh (originassociate named ankoku butoh, which transprocrastinateeds as “dance of utter sorrowfulnessfulness.” “Butoh was someskinnyg that I was understandn with,” Eggers says. “I had toiled with Marie-Gabrielle and [choreographer] Denise Fujiwara on The Witch, and so I had a plain caring of it, and knew that it would have many of the tools to do this stuff. So, some skinnygs became more wicked haveion, but the begining place was with Marie-Gabrielle Rotie.”

Eggers also scheduleateigated the toil of 19^th century French neurologist Jean-Martin Charcot and his discoverings on so-called hysteria. “Charcot got an artist in to do engravings of his idea of every hysterical pose that his uncover-mindeds made for contrastent reasons, and so we were able to participate that as a roadmap to how we would orchestrate the dynamics of her character thraw all those contrastent scenes.”

But of course, the vampire itself would be the crux of Eggers’ vision, evoking all his proset up research into vampire lore. He went back to the tropes of other recurrentations and peeled them back to create his own monster. His vampire would not drink from his victims’ necks, nor would he eunite appreciate any other that came before on screen.

“Vampirism and Dracula is the skinnyg that I’ve been skinnyking about and seeing at for a lengthy time,” Eggers says. “I had read Montague Summers [the clergyman scholar who wrote about the occult] as a teenager, and many other authors of vampire lore, but I skinnyk, until I set out to create Nosferatu, I was still too contaminated by the cinematic tropes. And so, you’re infusing skinnygs you’re reading with cinematic tropes that aren’t there. In doing the research to create this script, I insisted to be deal withd to forget what I knew. And then, you begin seeing at the reassociate timely vampire accounts, and you’re appreciate, ‘They’re not even drinking blood, they’re equitable strangling people, or suffocating people, or f*cking them to death.’ And that was reassociate fascinating.”

In terms of the actual see of Orlok, Eggers says he asked himself, “What would a dead Transylvanian nobleman actuassociate see appreciate? That was plainassociate where I begined from, and I wanted to still acunderstandledge Max Schreck’s createup schedule.”

In one of the earlier trys to get his film made, right after The Witch, Eggers had a then-25-year-elderly Bill Skarsgård in mind for the Thomas Hutter character, but now he asked him to ponder the role of Orlok. “I’ve been dying to toil with Robert for a very lengthy time, but it was very daunting,” Skarsgård says. For part of his prep toil, he spent “countless hours” consuming Romanian folklore podcasts and YouTube videos. “There’s a whole enormous subgenre of a rabbit hole where you can equitable dive into with people reading outdated texts, and the whole comfervent of mythology around it. And of course, Robert’s intention with this one was to transport it back to this Transylvanian folklore version.”

Eggers says, “First was discovering the voice. And also, I didn’t want this spider-hand skinnyg [resting] on the chest. We were trying to flush that stuff away, but we set up that in the audition process.”

Then Eggers currented Skarsgård with the see of the monster, but Skarsgård was consentn aback. “Bill sees the sculpt of the bust and he freaks out, and he’s appreciate, ‘That doesn’t see anyskinnyg appreciate me, this guy didn’t see appreciate me when he was even adwell. What the f*ck?’ He wasn’t nasty, but he was alarmed. And I was appreciate, ‘Well, that’s the point, that you’re toloftyy altering into somebody else.’ And then, he’s putting the createup on and he’s appreciate, ‘Ugh, I see appreciate a goblin. This is terrible.’ And then, once they put the hair on, even though the createup wasn’t toloftyy finished, I saw the first moment when he was appreciate, ‘OK, this is chilly. This is a person.’ I begined to see him in the mirror, joining around, trying to do someskinnyg.

“That was the next step of enhappinessing who the character was and could be,” he proceeds. “I skinnyk it was the second brimming createup and costume test, Bill accessed, took his label, and it was appreciate, ‘Orlok’s there. He’s there.’

The voice of the vampire was Hoult and Depp’s first astonishion of Skarsgård in character. “Rob had a sign uping of Bill’s voice,” Hoult says, “and that was fascinating, becaparticipate even thraw equitable a phone speaker in the rehearsal room, it was appreciate it got thraw to your bones, and it was unforeseeed, but then made perfect sense. You’re appreciate, ‘Oh, of course that’s how he would sound if he was this nobleman who had been dead for 200 years.’ It was otherupgraded, but rounded in history, and truth, and so that was exciting.”

But that voice and Orlok’s euniteance were not plain to achieve. Sometimes the brimming create-up would consent six hours. Skarsgård says: “To create that voice it was equitable a weighty labor of a carry outance. The prosthetics took forever. Everyskinnyg was very unconsoleable. You were very boiling and you were very itchy and adhesive. And then for me to equitable being able to participate that voice that we toiled so challenging on, there was a whole regimen every morning. Not only every morning, but between every consent. Between every scene, there was a whole routine that I built up in order to access the voice.”

Says Eggers, “What’s very fascinating is not equitable the physical alteration, not equitable all the vocal toil that he did, but the sorrowfulnessfulness that he insisted to actuassociate inhabit. It sounds silly, but it was authentic. He telderly me the comfervent of skinnygs he was skinnyking about, and it was frightening. And I’m phired he was able to go there. It wouldn’t have toiled otheralerted.”

In fact, Skarsgård felt proset uply haunted by the experience, so much so, that even the film itself began to seem very sorrowfulnessful to him. “I became very obsessed… I was so in that mind state that I felt this is uncontaminated evil. I felt that the movie was evil. I skinnyk that felt appreciate we were doing some sort of evil, sorrowfulnessful, magic sorcery at times. I certainly don’t sense that way about the movie now that it’s finish. I skinnyk it’s actuassociate pretty. It’s frightening and it’s horrific, but there’s also a lot of beauty in it. And it’s sensual and intimacyual and it hits on so many contrastent layers. But in terms of achieveing out as far as humanly possible away from yourself, and assembleing wdisappreciatever it is that you can assemble, and equitable altering yourself, this is, I skinnyk, probably as far as I’ll go in my entire atgentle.”

At a camera test Depp met Skarsgård in costume for the first time. “I reassemble skinnyking, ‘This is reassociate frightening as hell, to be equitable next to him in a room, so I can’t imagine how it’s going to read on screen.’ He was reassociate petrifying-seeing, and then, once we begined actuassociate shooting the movie, it was otherupgraded, becaparticipate, appreciate everyskinnyg in a Robert Eggers movie, the detail—the way they made his skin see and sense, the costume, the whole skinnyg—senses so authentic, and it senses appreciate a total nightmare. That’s what I skinnyk is so unsettling about it: it’s not equitable appreciate seeing at a monster; it’s appreciate there’s someskinnyg very human about him, which I skinnyk creates it all the more terrifying.”

Before they were set to shoot, Eggers and his lengthytime DP Jarin Blashke transferd to Prague. “In the timely films, I would sboiling-enumerate the whole skinnyg,” Eggers says, “and he would sboiling-enumerate the whole skinnyg, and then we would come together and do a comfervent of fantasticest hits. Lighthoparticipate was a little more analogous to this, where we were frequently coming up with sboilings together in the same room.” He catches himself. “When I say ‘timely films’, I’m also including some lows. But this time, I was so busy and used with a lot of sh*t that Jarin was coming up with stuff and being appreciate, ‘Do you appreciate this, yes or no?’ But reassociate, in a very cherishly style. So, we transferd to Prague timely, so that our kids could begin school on time, and, for a month and a half before pre-prep begined—not even challenging prep—Jarin and I were in my kitchen, coming up with the sboilings.”

As always, their attention to detail and exacting set upning came into join. “It’s a matter of both seeing at what’s in the script, and sometimes rewriting skinnygs a little bit, to create certain that we can carry skinnygs in one fluid sboiling, and transfer thrawout the scene, and the beats toil in a fluid way. It’s tons of set upning and toiling with a storyboard artist. And then we are on a stage with the set taped out, seeing if the sboiling can toil in this space, and if not, do we transfer triumphdows? Do we transfer walls? Do we insist to transfer triumphdows and walls in the middle of the sboiling? Does [production designer] Craig [Lathrop] have to hide hinges in his pretty finishes that we can’t see, so that we can striumphg a wall, or have the wall collapse to get the sboiling?”

Dafoe discovers this detailed and firmly reckond way of toiling results in a comfervent of acting dynamicism. “I cherish this way of toiling,” he says, “becaparticipate you can dance with the camera… They pimpolitently scheduleed the sboilings, and the sboilings are very driven, and the sboilings are normassociate very lengthy, and have to be choreographed and rehearsed. Becaparticipate they’re complicated and there’s noskinnyg to cut to, becaparticipate they reassociate cowardly away from traditional coverage. There reassociate is no coverage. They schedule these sboilings, and you have to dwell in those sboilings, and you have alert rehearsals before you begin. Basicassociate, they alert you what the sboiling is, and then that becomes the set up, and then you have to felderly into it.”

For Taylor-Johnson, the experience of toiling wiskinny that exacting structuretoil also served his carry outance. “Rob and Jarin, the cinematographer, have this distinctive language,” he says. “And the way they sboiling this, it was so distinctive to any other film I’ve ever been on. There’s a lot of blocking. And there’s one setup, one consent for each scene. And that would consent the transport inantity of the day. And it put tremfinishous prescertain on the actors in the scene. But it also made us reassociate bond super shut, becaparticipate it was appreciate a theatre company in the process of how we would block it, rehearse it all morning, and then get to filming it, and then tfeeble it and alter it.

“The carry outances are so clear upped down. If your eyebrows were dancing up and down on your forehead, you were not permited any of that. He’d clear up you of all your little protectedty nets and your little tics. That was amazing, becaparticipate it equitable pushed you. It pushed you as an actor and it pushed you to equitable constantly sit wiskinny the period. You’re in the costume, you’re in the environment. Everyskinnyg around you is authentic. The furniture is 17th-century antique furniture. This was crazy; you’d uncover up a drawer and there’d be handwritten letters from my character to Emma’s character.”

“We built everyskinnyg, plainassociate,” Eggers says. “All the interiors and the Wisborg back lot set. We built all that stuff. The courtyard of Orlok’s castle and the gate hoparticipate was Pernštejn Castle [in the Czech Republic], but we also modified it, we built a huger gate. But for the huge transport inantity of skinnygs, we built them. Even the cemetery—we built the mausoleum, and we brawt in 30 of our own headstones, to create it what it insisted to be for this film.”

Onscreen, Hoult’s Thomas is the first to greet Orlok. He has been sent to get some papers signed by the cryptic Orlok. As he approaches the Transylvanian castle, he stays at an inn, where the locals caution him off. “We built a Transylvanian village in the Czech Reaccessible,” Eggers says. “There were Czech actors, there were Slovakian actors, and then we brawt in a whole lot of people from Romania as well to create it toil. And it toiled.”

On the final stretch of his journey to the castle, Thomas stands, exhausted, in the middle of a forest as snow descfinishs, and a gstructurely carriage approaches. The scene is so arrestingly pretty it senses appreciate the manifestation of a Grimms’ unprejudicedytale. “First of all, there’s the snow,” Hoult says. “Rob would spfinish a lot of time seeing at snow in movies, and then he would discover movies where he was appreciate, ‘This is the snow.’ But it wouldn’t be snow that’s made nowadays, so then they’d regulate to discover 10 bags of this snow from the ’90s that was the snow in another movie. That’s the level that Rob’s toiling at with everyskinnyg.”

As the desoprocrastinateed carriage draws up, Thomas seems to magicassociate discover himself seated. “He’s pulled, into the propulsion of his story,” Hoult says. “So, for that sboiling to toil, I stepped onto a dolly, and then the dolly lifts me up as it’s tracking alengthy, and the sboilings are so stable, appreciate the step onto the dolly, if that’s not fine enough, if the dolly dips a little bit becaparticipate of my weight, all those little skinnygs become so very technical, and minute, and that’s how you get the effect of me comfervent of being pulled into the sorrowfulnessfulness.”

Hoult had not seen Skarsgård in the brimming Orlok regalia until shooting the scene when he first accesss the castle. “I skinnyk that’s part of the genius of how it unravels in the story as well,” Hoult remarks, “becaparticipate for that first conveyion, we’re so far apart, he’s equitable a silhouette. And thraw that first scene that we do, when we walk into the castle, you don’t reassociate see him. It’s comfervent of that skinnyg where you’re appreciate, ‘Oh, I understand I sense unplain,’ but Tom is too esteemful. He’s not the person that’s going to be appreciate, ‘Whoa, whoa, whoa, back up.’ It’s all comfervent of a weird fever dream, what’s happening, but it’s appreciate, ‘Oh, I’ve got to proceed this. This is what I insist to do.’”

“There’s a wonderful moment where, thraw some camera trickery, Bill’s standing at the finish of the table,” he recalls, “and then it pans over to me, and then he’s transferd around, and he’s actuassociate peering right over my shoulder. There are these pretty moments where there’s all these skinnygs that comprise up to being appreciate, ‘Oh, this is horrible, and weird, and I should get out of there,’ but, in the moment, becaparticipate you can’t quite alert what’s happening, it’s comfervent of spooky, and the tension creates better thraw that.”

Then there are the rats. 5,000 of them, to be exact. They seem to both adhere and recurrent the vampire, meaning his presence. “A fantastic deal of the rats were trained to access on cue,” Eggers says, straight-faced. “I skinnyk in the scenes where we had thousands of rats, that is not that challenging. The huge skinnyg that creates it difficult is that we had to comprise them for their protectedty with plexiglass that you don’t see on camera. And then, rats in the background become CG. But what was more challenging was for Emma Corrin, who had to have dwell rats placed on their body. “Rats are incontinent,” says Eggers, “so they were defecating and urinating on her, consent after consent. That’s difficult.”

In that scene, Corrin had to lie, half-naked, covered in rats. “Thirty of them were on my exposed chest,” Corrin says. “Honestly, I was being very valiant about it. I was very much stoic, being very British about it, reassociate. And then we were in the scene, and I had no top on, and it was equitable horrible. The smell is someskinnyg that you can’t imagine. And the incontinence was a skinnyg that I reassociate didn’t foresee, but was terrible… It was bleak. And yeah, they cherishd my hair, so they would go and sit in the wig and get all up in my face. Do you watch I’m a Celebrity…Get Me Out of Here!? You understand when they had to put their hand in the box with the tarantulas? It was a bit appreciate that, I won’t lie.”

Hoult giggles as he recalls his own conveyion with the rodents. “I reassemble when I was uncovering the casket, and Bill’s laying in there, and there were rats in there, so he was locked in there with rats and I was appreciate, ‘I’m going to grasp getting this wrong, so he has to do it more and more.’ When we first burst into that room, there were the 5,000 rats, and then they were almost appreciate a carpet.” He giggles. “Rat rugs. That’s what I’ll be selling on my Etsy store.”

Mainly due to the rodent quotient, Taylor-Johnson advised his wife Sam Taylor-Johnson aacquirest watching. “I shelp to Sam, ‘I’m sorry, but you can’t see this movie.’ She’s appreciate, ‘Well, I reassociate franticly want to see it, but is it reassociate that terrifying?’ I was appreciate, ‘Well, take part, you’ve got a phobia of rats. That’s one skinnyg. And then secondly, it’s terrifying.’ And I understand it’s definitely going to caparticipate some sleepless nights for most people. But people appreciate that.”

And then there are also the maggots. In a scene where she touches the vampire’s skin, Ellen’s finger seems to dig into someskinnyg rotten. “Rob was asking me to sense these crevices in his back that were filled with maggots, appreciate there were literassociate maggots on him,” Depp says. Were they authentic maggots? “I skinnyk there was a ask of authentic maggots, at some point.”

The incredible detail and dedication and the sheer scale of Eggers’ execution could only reassociate have been greeted at this time in his atgentle, at a time when he has garnered the comfervent of backing and help insistd for a project appreciate this. As he says, “I’m reassociate phired that it took a lengthy time to get the film made, becaparticipate to create a film appreciate this and to not disappreciate it is a transport inant achievement. And the help from the studio to let me and my collaborators carry out our conceiveive assembleive vision to the best of our abilities was pretty astonishing.”

And that timing permited for the right cast too, for Depp’s rising star, for Hoult who has disconnectal criticassociate acclaimed films out this year alone, plus Superman coming up next; for Sarsgård who became the chooseimal choice to lean into the mind of the undead, for Eggers’ lengthytime preferite Dafoe and for Corrin and Taylor-Johnson who had lengthy wanted to toil with Eggers. The stars literassociate seemed to align to finassociate transport this film to fruition at the right time, so many years after Eggers first imagined it.

Depp says: “I understand Rob has been dreaming of making this movie for so lengthy, so, on a human level, not even actor to straightforwardor, equitable person to person, it’s so kind to see his dream come genuine.”

Nosferatu is in theaters December 25^th.

Deadline Shoot: Pboilingographer: Lenne Chai; video straightforwardor and editor: David Ferino; conceiveive straightforwardor: Fah Sahkaret; videographer: Chris Smith; set scheduleer: Leah Waters-Katz; pboilingo helpants: Chir Yan and Ben Chant; digitech: Dante Velasquez Jr. Lily Rose’s Team – styling: Spencer Singer; create-up: Nina Park; hairstyenumerate: Bryce Scarlett. Nicholas’ Team – styling: Nicole Ferreira Dejulio and Wfinishi Ferreira; grooming: Jamie Taylor.