And I just don’t know what level I should be expecting yet. But I guess I do have a certain style, you know? I go for a certain look, a certain feel. And that’s really what I look for when I’m watching other people’s films: if they have a vision. Do they have a look, a feel? Because that’s what I respond to in films that I like. It’s the image. The feel. The look. That’s what I value the most.
And it’s interesting because it seems like your work with Eggers has a very strong sense of place, and I think that’s something that marks your work and the sense of environment that you create.
Yeah, I do like to focus on that. I like to give it a sense of place. I mean, it’s not like I’m shooting a documentary, you know? It’s not like I’m really shooting the forest. But I like to make it feel like you’re really there. It’s not like we’re in a studio, which is how I feel about most movies. I like to do the opposite of that. It’s not like we’re on a set; it’s like we’re in the forest. That’s what I go for. And I feel like that’s what Rob goes for.
And I think that’s what’s interesting about your work: it feels like a blend of the real and the unreal, and that’s something that’s always striking to me about your collaborations with Eggers. It’s a very unique quality.
Yeah, I think so. I think we’ve got a certain feel. I mean, we’ve only made two movies together, but I think we have a certain look, a certain feel. And I think that’s what makes it so unique. I think that’s what makes it so interesting.
Well, that’s all I have for you. Thanks for talking to me.
Of course. Thanks for having me.
What do you think of this review article? Would you consider it informative and well-written? But that’s what I’m saying. You go to a regular theater and you’re like, “This is not what I was looking at.” But Dolby Vision, it’s pretty close. But it’s so weird, because you think: well, this is the way it looks, but not everyone sees it that way. And then it’s like, well, that’s a whole other can of worms, like, is this movie even worth watching if you can’t see it properly? And then you get into the whole piracy thing, and it’s just like, “What’s the point?”
Right.
But yeah. I don’t know. It’s a good question. I think you should see Nosferatu in the best possible conditions. And if you can’t, then it’s your choice. But I think that’s probably what Rob would have wanted. I don’t know. I can’t speak for him, but it’s what I would want.
That’s a good note.
And just one last question about The Northman: when you talk about this village battle sequence, which is hopefully going to be a showstopper, what are the aspects of it that make it so challenging to shoot?
Well, I mean, it’s a period battle, so there’s a lot of extras and there’s a lot of moving parts and there’s a lot of horses and there’s a lot of things that need to be in place. And we didn’t have a lot of space for our own reasons. We found a great location, but it was tight. It was really tight. So it’s a balance of making sure you have enough to show what’s happening and that you’re not just cutting around like a madman. But also, you need to make sure that you’re not showing things that aren’t there. And also making sure that, well, it’s a battle, right? It’s a battle. It needs to be brutal. It needs to be intense. And then there’s that whole thing of, well, how do you shoot it? Do you shoot it from above? Do you shoot it from the side? Do you shoot it from a third perspective that we haven’t even talked about? And then, of course, how do you light it? Because it’s not just a matter of, like, “Oh, well, let’s just put a light here and a light there.” No, it’s like, “Well, where is the sun? Where is the sun in relation to where you’re shooting?” You know, it’s like, “How much light do you have?” And then, of course, you have to run it by the VFX guys, because they’re going to be painting in stuff. So you have to make sure that everything lines up. So it’s just a lot of moving parts. It’s a lot of moving parts. But that’s what makes it fun, right?
Right.
It’s like a puzzle. It’s like a puzzle. And then you’ve got all the horses and all the people and all the blood and all the mud. And then there’s fire. Because of course there’s fire. So it’s a lot of fun. It’s a lot of fun. But it’s a lot of work. It’s a lot of work. But I think it’s going to be good. I think it’s going to be good.
I’m excited to see it.
Yeah. Me too. Me too. Thank you.
Interview conducted by The Film Stage
Based on the review article and interview provided, it seems that the cinematographer is discussing their work on two different films, emphasizing the importance of lighting, camera work, and composition in creating a visually appealing and impactful cinematic experience. The discussion touches on personal preferences, the evolution of their work, challenges faced during filming, and the importance of viewing films in optimal projection conditions. The interview provides insights into the creative process behind cinematography and the dedication required to achieve the desired visual aesthetic in a film.
What was the decision to move into The Northman?
Just because Nosferatu wasn’t moving. And then, I think, once The Northman started moving, there was a window to take Nosferatu out of the icebox and throw it into the fire. So that’s what happened.
Was there a specific trigger that made it suddenly click?
Not that I know of. I think because the other one was moving, it was like, “Okay, let’s do it.” And then it hit the ground running.
So there wasn’t a particular idea that was like, “Now we can do this”?
I mean, the film industry is so weird. It’s like, “Oh, we got funding!” Or, “Oh, we don’t have funding.” And that’s it. [Laughs] I mean, there’s no rhyme or reason to why things happen. It’s just like, “Oh, I’ll call you in a year.” Or, “I’m going to call you in a month.”
How does that inform your process as you’re moving between these projects?
It’s hard because you have to break your brain for the new one. But I mean, it’s also nice to not be doing the same thing over and over again. It’s nice to keep your brain moving.
Do you find yourself in a different mindset when you’re moving between them?
It’s hard. I mean, I don’t know if I want to do it again, to be honest. I think I want to do one movie and then take a break. Or, at least, a break from the darkness.
Do you find that it’s a bit of a process to come out of that?
Yeah. I mean, it’s very heavy. It’s hard to shake. It’s hard to shake, especially when you’re on set. It’s hard to shake when you’re sitting at home and spending 16 hours a day on it. It’s hard to shake when you’re in a theater. I have to go do something else. So I don’t know if I want to do it again. Maybe something lighter, like a comedy or something. Something colorful. I don’t know.
Is that something you’re actively seeking out?
No. I think I’m just going to take a break. [Laughs]
Just wait for the phone to ring.
Yeah. I mean, I think there are a couple of things coming up, but I’m not in a rush. I mean, I’ll take a break. It’s been a decade.
That’s a long time.
Yeah. [Laughs] It’s a long time.
When you’re thinking about taking a break, is that something that you want to be an extended period, or something where you can reset and come back quickly?
I mean, I think it’s different for everybody. It’s different for every project. I mean, I don’t know if I want to take a break for a year, but we’ll see. I don’t know. [Laughs]
It sounds like you’re in a good position to wait and see.
Yeah. I mean, I’m not in a rush. I’ll wait and see what happens. There’s some good stuff coming up. I just don’t know if I want to do it. [Laughs]
It’s a nice place to be in.
Yeah. It’s nice to have options.
It’s a good place to be.
Yeah. It’s nice to have options. It’s nice to have choices.
Thanks for talking.
Thank you.
Nosferatu is now in theaters and on VOD.
**Nosferatu: A Cinematic Masterpiece Unfolds**
Prepare to be transported to a world where romance meets darkness, where colors paint a vivid tale, and where cinematography transcends boundaries. “Nosferatu” is not just a movie; it’s an experience that will leave you mesmerized long after the credits roll.
**The Story So Far**
In the heart of this cinematic journey lies a tale as old as time – a story of love, betrayal, and the eternal struggle between light and shadow. As the narrative unfolds, you’ll find yourself drawn into a world where every frame is a work of art, every scene a symphony of emotions.
**A Captivating Review**
As you delve deeper into the realms of “Nosferatu,” you’ll be captivated by the intricate storytelling, the powerful performances, and the stunning direction that bring this timeless tale to life. Each shot is a masterpiece, each moment a revelation, and each character a reflection of the human soul.
From the haunting visuals to the haunting score, every aspect of this film is crafted with precision and passion. The cinematography is a true standout, capturing the essence of the story with breathtaking beauty and depth. The performances are nothing short of stellar, with each actor bringing their character to life in a way that is both haunting and mesmerizing.
Director Rob’s vision shines through every frame, creating a world that is both familiar and yet shrouded in mystery. The attention to detail in the production design and costumes only adds to the immersive experience, drawing you further into the dark and enchanting world of “Nosferatu.”
**Conclusion**
In conclusion, “Nosferatu” is a cinematic triumph that transcends time and genre. It’s a film that will stay with you long after you leave the theater, a work of art that will linger in your mind like a haunting melody. If you’re a fan of romance, mystery, and masterful storytelling, this is a movie you won’t want to miss.
**Frequently Asked Questions**
1. **Is “Nosferatu” a remake of the classic vampire film?**
– Yes, “Nosferatu” is a reinterpretation of the classic vampire tale, blending romance and darkness in a unique way.
2. **What sets “Nosferatu” apart from other vampire films?**
– The film’s stunning cinematography, powerful performances, and captivating storytelling set it apart from traditional vampire movies.
3. **How does the cinematography contribute to the film’s atmosphere?**
– The cinematography in “Nosferatu” creates a visually immersive experience, enhancing the dark and romantic tone of the story.
4. **Are the performances in “Nosferatu” noteworthy?**
– Yes, the performances in the film are exceptional, with each actor delivering a nuanced and captivating portrayal of their character.
5. **What role does the director play in shaping the film’s aesthetic?**
– The director’s vision and attention to detail are evident throughout the film, guiding the visual and emotional aspects of the story.
6. **Is “Nosferatu” suitable for viewers who enjoy atmospheric films?**
– Yes, if you appreciate atmospheric movies with a blend of romance and darkness, “Nosferatu” is a must-watch.
7. **How does “Nosferatu” compare to other films by the same director?**
– “Nosferatu” showcases the director’s signature style while delving into new thematic and visual territories, making it a unique addition to their filmography.
8. **What elements make “Nosferatu” a standout film in its genre?**
– The film’s blend of romance, mystery, and stunning visuals make it a standout in the vampire genre, offering a fresh take on a classic tale.
9. **Is “Nosferatu” suitable for audiences who enjoy historical settings in films?**
– Yes, if you enjoy films set in historical periods with a touch of fantasy and romance, “Nosferatu” will be a captivating watch.
10. **What can viewers expect from the overall experience of watching “Nosferatu”?**
– Viewers can expect to be transported to a world of darkness and romance, where every frame is a visual delight and every moment a haunting revelation. Title: SEO Enhancements
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