Jarin Blaschke, Eggers’s cinematographer, had already enrolled his daughter in school in Prague. But, at the last minute, Styles pulled out, citing scheduling concerns. The new version featured Taylor-Joy, who also starred in “The Witch,” and Harry Styles. In high school, Eggers co-directed a stage production of the movie, in which his younger brothers, Max and Sam, who are twins, were painted gray and played motionless gargoyles. The previous week, he had been scheduled to move there to begin preparing a remake of “Nosferatu,” F. W. “I look like a poster boy for a Bushwick hipster, but that is where my relatability ends, I fear.”Įggers was supposed to be in Prague. “Currently, with my best intentions, like, I’m not normal,” he replied. Over breakfast, I asked Eggers if he could explain why testing audiences were having trouble with “The Northman.” In conversation, he hesitates, as if to consider his potential vulnerability, and then answers rapidly and in full, to get it over with. “There’s no question about the existence of witches. And people coexist with those elements as a matter of existence,” Cuarón said.
“It’s as if those elements are as natural as the weather. “I was, like, more than anything, curious.” Cuarón observed that, unlike other filmmakers, who treat the magical or the symbolic as breaks from normality, Eggers makes no such distinction.
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“The sea creatures and the satyrs and the wild men and the demons did kind of put Marvel to shame, in my eyes.”Īlfonso Cuarón, the director of “Gravity” and “ Roma,” read Eggers’s screenplay of “The Witch” in 2013, when the movie was still in development. “That is when I almost literally, but certainly metaphorically, put away my comic books and became a snob and a dilettante,” Eggers told me. But, when Eggers was about ten, an aging Latvian American painter named Hyman Bloom, who influenced Jackson Pollock and was a friend of Eggers’s parents, gave him two books of woodcuts by Albrecht Dürer and Martin Schongauer, fifteenth-century German printmakers. He could be a double-crossing ambassador in the court of a depraved Habsburg emperor, or the guy in front of you ordering an oat-milk cortado. He dresses in black, and his left hand is heavy with signet rings and a large gold watch. “Weirder.”Įggers, who is thirty-eight, has pale-green eyes, a dark cropped beard, and hair buzzed close to his scalp on the sides. But my best intention of doing ‘Gladiator’ or ‘Braveheart’ is still . . .” He let the sentence hang. Now everyone is kind of, like, ‘If this isn’t “Gladiator” or “Braveheart,” we’re fucked.’ And the thing is: it isn’t,” Eggers said. “We had kind of an expensive, arty-but commercial-but arty, but commercial, like, Viking movie. . . . But then months of COVID-related delays and costly safety protocols pushed the budget way beyond that. The film stars Alexander Skarsgård and Anya Taylor-Joy, alongside Ethan Hawke, Nicole Kidman, Claes Bang, and Willem Dafoe. Eggers wrote the script with Sjón, an Icelandic novelist and poet, and attracted a major cast. The budget for “The Northman,” which comes out in late April, started at sixty-five million dollars. “Some audience member wrote, ‘You need to have a master’s degree in Viking history to understand, like, anything in this movie,’ ” Eggers said. Out of a hundred, the movie was scoring in the mid-sixties the studio wanted more like seventy-five.
The first audiences for “The Northman”-a loose pre-telling of “Hamlet” (Shakespeare’s play is based on a Viking tale) involving longships, volcanoes, transcendental visions, and the singer Björk’s first cinematic role in seventeen years-reported feeling similarly flummoxed. “The studio is expecting the next cut to be different,” Eggers said.Įggers’s previous films-“The Witch” (2015) and “The Lighthouse” (2019)-were claustrophobic, visionary works that blurred the boundary between the imagined and the real. At seven that morning, he had spoken to an executive at New Regency Productions, to receive the studio’s notes on the latest cut of “The Northman,” the ninety-million-dollar Viking movie that had consumed two years of his life. Last September, the filmmaker Robert Eggers was having breakfast-grains, seeds, black coffee-at a bistro in central London.
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