Issue link: https://digital.copcomm.com/i/1529668
8 2 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 4 Early in 2016, shortly after The Witch opened, Robert Eggers mentioned his desire to remake Nosferatu. He had been thinking about F.W. Murnau's 1922 masterpiece since his mother first brought home a VHS tape of the silent film when he was 9. He was working on several other scripts at that time, and I was busy working on another project. Still, whenever I had any downtime, I found myself thinking about Nosferatu. A few years passed before Nosferatu would come back into focus, in which time I had the opportunity to work with Rob on a couple of other projects, The Lighthouse in Nova Scotia, and the film we were currently working on, The Northman in Northern Ireland. As we approached the end of that project, Rob told me everything was falling into place to make Nosferatu and asked me if I would come on board. In all honesty, he didn't have to ask: I would gladly work on any film directed by Robert Eggers. But I will also say that Nosferatu was special. It had a fantastic script with incredibly memorable characters, a retelling of a classic story told in a fresh (and frightening) way. From a design perspective, it was also an incredibly rich opportunity. There were Biedermeier interiors and the streets of Wisburg—a fictitious 1830s Baltic German town, a Transylvanian village and inn, a Romanian monastery, a decaying Gothic castle, manor house and chapel and much, much B u i l d i n g a V i v i d G o t h i c W o r l d N O S F E R A T U B Y C R A I G L AT H R O P, P R O D U C T I O N D E S I G N E R A A. THOMAS HUTTER SAYS GOODBYE TO ELLEN OUTSIDE OF HARDING'S HOUSE. PHILIPP SCHERER CREATED THIS CONCEPT ART USING BLENDER AND PHOTOSHOP