Issue link: https://digital.copcomm.com/i/1529668
N O S F E R A T U | P E R S P E C T I V E 8 3 more. There was the occult and Solomonic magic, symbolic carvings, carriages, period wallpaper, carpets… The depth and breadth of what the script called for was intoxicating, and the idea of creating the world of Count Orlok with Rob was a dream come true. While Rob was working on post for The Northman in the UK, I moved to Prague to continue scouting for locations and to get the Art Department up and running. During this time, I was able to bring on Concept Artists Philipp Scherer, Kirill Barybin and Till Holder, who had all worked with me on The Northman. I was sending Rob everything we were working on during the day and would catch up with him in the evenings. We were able to get a tremendous amount done in a short amount of time, but unfortunately, it all ended abruptly. After only a few weeks in Prague, one of the actors dropped out of the film because of a scheduling conflict, and the whole project fell apart. I began to wonder if I was dreaming of Orlok or if Orlok was simply haunting my dreams. I went home to design another show and Rob finished editing The Northman in the UK. I was lucky enough to be at The Northman's premiere in London the following spring, where I heard more whispers about Nosferatu. When I left Prague, everyone said they were still hoping to make the B. OLD TOWN IS BOARDED UP AS A PLAGUE SPREADS THROUGH THE CITY. THIS SET WAS BUILT ON THE BACKLOT IN BARRANDOV STUDIOS IN PRAGUE, CZECH REPUBLIC. PRODUCTION STILL. C. HUTTER'S STREET IN THE OLDER PART OF TOWN. CONCEPT ART BY PHILIPP SCHERER B C