NOSFERATU: SEGREDOS E REINVENÇÃO DO CLÁSSICO

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00:00And I think audiences know that, they know they're going to get something that feels kind of raw and real.

00:10Do you remember the first scary movie you ever watched in your life?

00:14Probably the James Will Frankenstein, and I was like very little,

00:19and I remember when you hear his footsteps and then he appears being genuinely scared,

00:24even though it's hard to imagine being scared of that now.

00:26Bambi.

00:29That was really good.

00:32I mean, yeah, Dumbo was definitely quite...

00:35Oh no, Pinocchio.

00:36Chitty Chitty Bang Bang.

00:37The child catcher.

00:38That's some freaky stuff.

00:39Pinocchio has a creepy moment, man, when the donkey goes and turns into a freaking donkey

00:46and they all smoke cigars at this fairground bit.

00:48Alice in Wonderland, scary.

00:50So basically just Disney anime.

00:52All Disney movies are scary.

00:54Yeah, there's amazing horror movies.

00:57That's not your first experience with a vampire movie, and before you had played a ghost, a goblin,

01:03so what other mythical creatures do you think would be fun to play?

01:07You know, I can never set myself up, you know.

01:10When something's in front of me, I know what to do.

01:12That's probably why I'm not a director.

01:14I react to things and then I work from there.

01:16I mean, he is, you know, halfway a satyr anyway, so.

01:22I could see you as a werewolf.

01:23Yeah.

01:24Like an elf.

01:26A Christmas elf.

01:28A fairy, maybe.

01:30A fairy.

01:31Peter Pan.

01:32I want to pick Peter Pan.

01:33You could totally Peter it.

01:34Robert Eggers' Peter Pan.

01:35Oh, my God.

01:36Dark.

01:37Dark.

01:38Oh, man.

01:39Hook was sick.

01:40Yeah, Hook was amazing.

01:41Since we're talking about a story with such a huge legacy,

01:45what were your main contributions or new elements you felt you had to tell the story yourself?

01:51One of the things that's really cool about the Morneau film

01:54is that it becomes Ellen's story somewhere midway through Act II.

02:00Ellen becomes the protagonist,

02:02and so I wanted Ellen to be the protagonist from the very beginning.

02:05I think that's the most central difference.

02:07And then also that Warlock is this, like, folk vampire.

02:11He is an ambulating corpse and nothing more.

02:15As I was watching the 1922 Nosferatu,

02:18I wonder if there's something about the way of acting in silent films

02:22that is still present in cinema today, you know,

02:25or that may have inspired you in your work.

02:27There's always that expression that if you turn the sound off on a film,

02:33can you still see what's going on?

02:35So there's something about the gesture,

02:37there's something about actions that really drive everything,

02:41that root everything.

02:43It's not so much about dialogue or psychology.

02:48It's about movement.

02:50It's about the presence of the actor,

02:52at least from my point of view as an actor.

02:54You don't imitate that because it's all kind of extreme,

02:57but it is about the gesture.

02:59It's about doing things.

03:00As you did a lot of research to bring this war to the screen,

03:04was there something new about this mythology to you

03:07or something you had a new perspective about?

03:09Yeah, I mean, one of the things that was really super fun

03:13was to dig into things that I had known about

03:16and kind of relearn them.

03:18The history of vampire cinema is so ingrained

03:22in people's knowledge about what vampires are.

03:26And I've read Dracula like five times or something

03:29as a kid and a young adult,

03:31and to realize there are things from vampire movies

03:34that I had put in the novel that aren't there.

03:36And when you go back and you look at stories

03:39about folk vampires from the 18th and 19th century,

03:42some of them don't drink blood.

03:44Some of them don't drink blood from the neck,

03:45but from the breast, which we put in the movie.

03:47Some of them just came back to sleep with their widows

03:50until she died from too much intercourse.

03:53From Nosferatu to What We Do in the Shadows to Twilight,

03:57vampire seems to work in all kinds of movies.

04:00What do you think that made this creature so appealing on screen?

04:04I think there's obviously a fantasy and a sense of, like,

04:08intrigue into the world of darkness and mythology

04:11and vampires and things like that.

04:13And I think it's exciting,

04:14especially when Robert Eggers is telling the story.

04:17You know he's pulling out parts of details

04:20and, like, folklore history

04:22and pulling out real authentic things of that era and time.

04:26And I think audiences know that.

04:28They know they're going to get something that feels

04:30kind of raw and real.

04:32In this adaptation, I feel that your characters,

04:35especially, gain a lot of new background.

04:38How did you and Robert work together, you know,

04:40to build almost from scratch a story for this couple?

04:44I mean, that was very much Rob, I think, in the writing of the story.

04:48This film, as well as being terrifying and beautiful

04:53and like a visual feast, it's also very much like a...

04:56It focuses on love and different types of love

04:58and marriage and family.

04:59Those things coming up against darkness

05:01and how each of those things deals with it.

05:04I think our characters are very much there

05:07to be this pillar of, like, a nuclear family

05:09and to watch that fall, essentially, or crack,

05:12or how these people deal with it.

05:14He typed me out a sort of character backstory,

05:17which I found really, really useful.

05:19But then we sort of rehearsed it and talked about it

05:21like you were at a play almost, didn't we?

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