Willem Dafoe

That's really sort of a Rob Eggers question, but I've been doing enough press with him. I can pretend I'm him for a moment. But basically, you know, this is a movie he saw when he was very young. And he was obsessed with it. Initially, he saw a video of it when he was nine years old. He did a play of Nosferatu when he was in high school. He's been thinking about it a long time.

That's really sort of a Rob Eggers question, but I've been doing enough press with him. I can pretend I'm him for a moment. But basically, you know, this is a movie he saw when he was very young. And he was obsessed with it. Initially, he saw a video of it when he was nine years old. He did a play of Nosferatu when he was in high school. He's been thinking about it a long time.

He's tried to make this movie for 10 years. He said, it's not enough to just be obsessed with something. You have to have a reason. There have been something like 170 movies Dracula vampire lore Nosferatu films made. And we've really gotten away from the scary vampire. We've come full circle and gotten to the character in Twilight, okay, who's kind of a sympathetic, sweet vampire.

He's tried to make this movie for 10 years. He said, it's not enough to just be obsessed with something. You have to have a reason. There have been something like 170 movies Dracula vampire lore Nosferatu films made. And we've really gotten away from the scary vampire. We've come full circle and gotten to the character in Twilight, okay, who's kind of a sympathetic, sweet vampire.

He's tried to make this movie for 10 years. He said, it's not enough to just be obsessed with something. You have to have a reason. There have been something like 170 movies Dracula vampire lore Nosferatu films made. And we've really gotten away from the scary vampire. We've come full circle and gotten to the character in Twilight, okay, who's kind of a sympathetic, sweet vampire.

He wanted him to be scary again. And he said, how do we do that? Well, we go back to the time where people actually believed there were vampires. and see what people would do, what their imagination was about it, what their evidence was of it, how they felt. So he tries to base all this on stuff that actually existed. A good example is the look of Orlok. which is very different in this film.

He wanted him to be scary again. And he said, how do we do that? Well, we go back to the time where people actually believed there were vampires. and see what people would do, what their imagination was about it, what their evidence was of it, how they felt. So he tries to base all this on stuff that actually existed. A good example is the look of Orlok. which is very different in this film.

He wanted him to be scary again. And he said, how do we do that? Well, we go back to the time where people actually believed there were vampires. and see what people would do, what their imagination was about it, what their evidence was of it, how they felt. So he tries to base all this on stuff that actually existed. A good example is the look of Orlok. which is very different in this film.

And to create that, he really went back to the idea of what would a 16th century Romanian nobleman that had been dead for many years look like.

And to create that, he really went back to the idea of what would a 16th century Romanian nobleman that had been dead for many years look like.

And to create that, he really went back to the idea of what would a 16th century Romanian nobleman that had been dead for many years look like.

So that pointed to the design of the costume, that pointed to facially how he'd look, pointed to many things. He's leaning into folklore because he trusts that, he believes that. He's separating the tropes that have been created through the years in cinema, vampires, and he's trying to give it some historic base.

So that pointed to the design of the costume, that pointed to facially how he'd look, pointed to many things. He's leaning into folklore because he trusts that, he believes that. He's separating the tropes that have been created through the years in cinema, vampires, and he's trying to give it some historic base.

So that pointed to the design of the costume, that pointed to facially how he'd look, pointed to many things. He's leaning into folklore because he trusts that, he believes that. He's separating the tropes that have been created through the years in cinema, vampires, and he's trying to give it some historic base.

when it brings up all these questions that are kind of central to vampire lore about sex and death, it has real bones. It has, you know, it has structure. This is a horror movie, but it's also a gothic romance, you know, and it's about this triangle, this romantic triangle between Nosferatu, Ellen, and her husband.

when it brings up all these questions that are kind of central to vampire lore about sex and death, it has real bones. It has, you know, it has structure. This is a horror movie, but it's also a gothic romance, you know, and it's about this triangle, this romantic triangle between Nosferatu, Ellen, and her husband.

when it brings up all these questions that are kind of central to vampire lore about sex and death, it has real bones. It has, you know, it has structure. This is a horror movie, but it's also a gothic romance, you know, and it's about this triangle, this romantic triangle between Nosferatu, Ellen, and her husband.

We hope. No, I don't know. I think it's beautiful because that's a time where people are off and it certainly opens things up to a large audience. It's the kind of movie that really will be beautiful to see in the theaters because... Particularly his way of shooting, he works with his DP, Jerem Blaschke, on these very, very long designed takes. There's no conventional coverage.

We hope. No, I don't know. I think it's beautiful because that's a time where people are off and it certainly opens things up to a large audience. It's the kind of movie that really will be beautiful to see in the theaters because... Particularly his way of shooting, he works with his DP, Jerem Blaschke, on these very, very long designed takes. There's no conventional coverage.

We hope. No, I don't know. I think it's beautiful because that's a time where people are off and it certainly opens things up to a large audience. It's the kind of movie that really will be beautiful to see in the theaters because... Particularly his way of shooting, he works with his DP, Jerem Blaschke, on these very, very long designed takes. There's no conventional coverage.