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8 8 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 unfortunately, cannot fit into this article. There are a couple of people, however, that I would be terribly remiss if I did not acknowledge and thank. My right hand in the Art Department was Supervising Art Director Paul Ghirardani. He was involved in every aspect of the project related to the Art Department and kept us on budget and on time. And then there is set decorator Beatrice Brentnerová. Discussing her contribution to this film would require several more articles. She and her team created period wallpaper, carpets and fabrics. She found, repaired and reupholstered the Biedermeier furniture, and built what she couldn't find. The same can be said for every detail in every set. Her workshop was always buzzing with sculptors, carvers, painters, furniture builders, reupholsters, dyers and breakdown artists. Museum-quality period lighting, no problem. Painted icons and heavily carved crosses or furniture, we can make those. No matter how crazy the ask, Beata always came through. Beata has a tremendous eye and impeccable taste. She is an amazing person and a joy to work with. Nosferatu was a labor of love for so many people, myself included. Over the years, Rob's vision of Wisburg and Transylvania has crept into my dreams. I'm so happy that he is now able to let Orlok out to visit the dreams of audiences around the globe. ADG A. & B. HARDING HOUSE GROUND FLOOR.PLAN AND ELEVATIONS DRAWN BY MAGDALENA NOVÁKOVÁ. C. HARDING HOUSE-VIEW TOWARD FRONT DRAWING ROOM. SET PHOTO. D. VON FRANZ'S ATTIC ROOM. SET PHOTO. E. KNOCK'S OFFICE. SET PHOTO. F. GRUNWALD MANOR CHAPEL. PRODUCTION STILL. G. CITY OF WISBURG. CONCEPT ART BY PHILIPP SCHERER. A B C