Details remain scarce on this one since Eggers has yet to reveal much, but he wrote ‘Werwulf’ with Sjón, who co-wrote violent Viking saga ‘The Northman’ with the filmmaker.
‘Werwulf is’ described as a werewolf horror film set in 13th century England and is set to feature Old English dialogue.
Taylor-Johnson is reportedly set to play the titular werewolf, with Depp as his wife. The script reportedly features elements of witchcraft and is described as one of Eggers’ goriest projects to date. While the director at one point was considering shooting the film in black and white, he has now apparently dropped that idea.
The cameras are expected to begin rolling this September.
Aboard to produce are Christopher Columbus –– yes, the ‘Harry Potter’ and ‘Home Alone’ director –– and his daughter Eleanor, who through their company Maiden Voyage Pictures, have been partnering with Eggers since his first film and were involved with shepherding ‘Nosferatu’ to screens.
Since Eggers and Focus saw such success with the seemingly strange Christmas Day release slot for ‘Nosferatu’ last year, they’re trying again, with ‘Werwulf’ targeting December 25th, 2026 as the date on which it will look to terrify audiences. Hairy Christmas!
Opening in theaters on December 25th is ‘Nosferatu’, which is a remake of the classic 1922 German film, which itself was loosely based on Bram Stoker’s 1897 novel ‘Dracula’.
Moviefone recently had the pleasure of speaking with filmmaker Robert Eggers in an extended interview about his work on ‘Nosferatu’, why he wanted to make the movie, his love for the original, the look of the new film, visual vs. practical effects, Bill Skarsgård and Lily-Rose Depp’s performances, why he loves working with Willem Dafoe, why he will never make a modern movie, and what he learned from making this project.
You can read the full interview below or click on the video player above to watch our interview.
Moviefone: To begin with, can you talk about your fascination with the source material, why you wanted to remake this film, and how you wanted to do it differently than what we’ve seen before from this genre?
Robert Eggers: I mean, I saw F. W. Murnau‘s ‘Nosferatu’ that was made in 1922 when I was nine years old, and I watched on a VHS that was made from a degraded 16-millimeter print and there was a way in which the world and the vampire played by Max Schreck just seemed real and unearthed from the past and I was just totally transported to that world. I also loved that it turned Bram Stoker’s novel into a very simple fairy tale. So, I’ve been obsessed with ‘Nosferatu’ most of my life, but it’s not enough to be obsessed and love something there. You must have a reason to do it again. I thought that if I could tell the story through the eyes of the female protagonist, through Lily-Rose Depp’s character, that there would be a greater chance for the film to have more emotional and psychological depth because yes, it is a scary horror movie with a lot of dread and even some jump scares. But more than that, it is a tale of love and obsession and a Gothic romance. The other central thing that is very different from other versions is that over the years, vampires have become less and less and less scary, climaxing with Edward Cullen (‘Twilight’) and in order to make the vampire in the film scary again, I turned to folklore that was written about and by people who believe that vampires were real and were terrified of them and these folk vampires are walking undead, putrid corpses. So, then I asked myself, “What would a dead Transylvanian nobleman actually look like” and thus we created what Bill Skarsgård’s vampire is in this film.
MF: Did you only take inspiration from the original ‘Nosferatu’, or did you also draw from the ‘Dracula’ novel and other interpretations of the character?
RE: I mean, it’s everything. It’s very much the history of vampire films in general, but I’m inspired by all kinds of Gothic literature and Edgar Allan Poe, black and white Gothic movies from the 1930s to the 1960s, and art house Polish movies from the ’70s. I mean, the influences are massive. Even Mel Brooks‘ ‘Dracula: Dead and Loving’. It was helpful to see what are the mistakes that every Dracula movie has. That parody points them out, so you know not to make those mistakes.
MF: Can you talk about Bill Skarsgård’s performance and the specific way you wanted Count Orlok to look in the film?
RE: I mean, Bill’s incredibly transformative as Count Orlok. There’s no trace of Bill Skarsgård in the movie. He worked with an opera singer to lower his voice an octave. He has this incredibly low, powerful voice that if you’ve heard Bill speak, Bill speaks in a tenor voice like mine, and you would assume that we digitally manipulated it. But no, Bill trained and that is his performance and the prosthetics that took six hours to apply and then his utter transformation for Bill to disappear and the darkness to take over and him to become Count Orlok is quite impressive.
MF: Can you talk about your use of practical vs. visual effect in the film?
RE: There are certainly plenty of visual effects in the movie, but I try to do as many things practically as possible and, the things that you might expect to be visual effects, those are the things that I particularly would like to do practically. All of Bill’s makeup is done practically. There are thousands and thousands of rats in the film and the thousands of rats that would be in the foreground of the shot are real. The wolves are real. We built over 60 sets, including a massive backlog set of a northern German town.
MF: Can you also talk about the production design and the specific look of the film?
RE: Yeah, I mean, the reality of these sets is quite shocking. We talk about the finishes in the movie industry and when you’re in the middle of Orlok’s Great Hall in the castle, even without the lighting, it looks completely real. It’s wild.
MF: What was it like working with Lily-Rose Depp, and can you talk about her performance and her character’s descent into madness?
RE: Lily-Rose Depp’s performance is quite jaw-dropping, and so amazing. When I first met with her, I felt that she just understood the character so well and then she did this incredibly powerful audition that left me and the casting director and even the videographer who didn’t have anything invested in it in tears. But Ellen’s character has a sort of knowledge, a sort of insight into the dark realm, another realm, and she’s dealing with the demons that are inside of her and this vampire that’s after her. She does this incredible body work where she sometimes is having seizures and sometimes having, going through these wild acts of possession. She worked tirelessly with a movement coach on doing all these incredible body movements that also help these shocking emotions to arise. But again, the stuff that she does with her body, you would think would be CG manipulated or we would be using wire work, but it’s all her. She gives a tremendous performance.
MF: This is the third movie in a row you’ve made with Willem Dafoe. What do you like about working with him and is he your lucky charm at this point?
RE: I mean, Willem Dafoe is a legend. He’s one of the greatest actors of all time and I feel so joyful and thankful and humbled that Willem likes to work with me and keeps coming back. But obviously, he has this power and a sense of humor and a fire about him that makes all his roles so compelling. Here, as a slightly crazed vampire hunter occultist, it’s particularly enjoyable.
MF: All your films are period pieces. What do you like about making those types of movies and do you ever see yourself making a modern set film?
RE: Well, it’s more fun for me to do the research and to create these worlds. I live in a world of cell phones and toilets and dishwashers. I don’t need to make movies about it. It’s boring. How cool is it that I am dreaming about a castle for 10 years and then I get to stand inside the castle of my imagination? That is so much cooler than shooting a scene in a men’s room with someone looking at their cell phone.
MF: Finally, this is a movie you’ve wanted to make for a while, how does it feel now that you’ve accomplished that and what have you learned from this experience?
RE: I’m proud of what me and all my collaborators were able to accomplish. I’ve been working with the same creative heads of department for years and we’ve become further extensions of each, and we challenge each other, and we grow together. After so long, it’s not just my vision that we’ve articulated, but a collective vision and that is wonderful. But you also feel a little vulnerable because when it’s something that is this important to you, that’s kind of a strange feeling. But I’m eager for audiences to come to movie theaters and get transported into this world and enjoy ‘Nosferatu’, hopefully.
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What is the plot of ‘Nosferatu’?
Set in 1838 in Germany, Nosferatu follows the obsession between a haunted young woman, Ellen Hutter (Lily-Rise Depp), and the ancient Transylvanian vampire stalking her, Count Orlok (Bill Skarsgård), leading to untold horror.
Director and writer Robert Eggers has wanted to remake ‘Nosferatu’ even before his stunning debut, ‘The Witch,’ came out in 2016. The silent 1922 original from director F.W. Murnau is one of the landmarks of both horror cinema and German Expressionist film, while Werner Herzog’s 1979 version is both an update of the material and a tribute to the Murnau classic.
Now Eggers has delivered his interpretation of the material, which itself is an adaptation of the Bram Stoker novel ‘Dracula’ in everything but name (the short version: Murnau could not get the rights to the book from Stoker’s widow, so he changed all the names and filmed it anyway). Eggers, our reigning master of period horror thanks to the likes of ‘The Witch’ and ‘The Lighthouse’ (2019), has incorporated elements of both previous versions into his film, along with aspects of ‘Bram Stoker’s Dracula’ (the 1992 Francis Ford Coppola movie) and even nods to other horror cornerstones like ‘The Exorcist’ and Mario Bava’s ‘Black Sabbath.’
Eggers’ dark fantasia may quickly become a modern horror classic in its own right: The macabre, surreal ‘Nosferatu’ is steeped in dread and a thick atmosphere of death and decay, featuring a terrifying monster – played by an unrecognizable Bill Skarsgård (Pennywise in ‘It’) – who proclaims that he is a primal force of evil (“I am an appetite, nothing more”) while emanating a despair and even loneliness that makes his corruption all the more palpable.
Set in 1838, ‘Nosferatu’ follows the basic plot that should be familiar to both readers of the original novel and generations of viewers who have watched cinematic variations on the tale, with a new wrinkle right from the onset: when we first meet the “melancholy” (as people suffering from depression and other clinical disorders were described back then) Ellen (Lily-Rose Depp), she is a young woman plagued by terrible dreams and loneliness and desperate to make contact with something divine. Her slight touch of paranormal ability – branded “hysteria” – does indeed awaken something far, far away, but about as far from the angelic as one could imagine.
Years later, Ellen is married to up-and-coming estate agent Thomas Hutter (Nicholas Hoult) and has seemingly gotten control of her mental and emotional issues thanks to her newfound happiness. But dark thoughts begin to intrude when Thomas announces that at the behest of his employer, Herr Knock (Simon McBurney), he must travel from their home in Wisborg, Germany to the distant land of Transylvania, where he is to close a deal for an elderly but extremely wealthy count named Orlok (Bill Skarsgård) to purchase a ruined property in Wisborg that he intends to make his new home. Leaving Ellen in the care of their friends Friedrich and Anna Harding (Aaron Taylor-Johnson and Emma Corrin), Thomas begins the long, arduous journey to Orlok’s castle – where he is met along the way by Romani who insist that he turn back at all costs.
Once at Orlok’s ancient, ominous abode – which seems to spread a literal blanket of decay over the land and everything around it – Thomas quickly realizes that there is something decidedly off about his host, who only appears at night. Orlok, of course, knows that Hutter is married to Ellen – the girl who cried out to him all those years ago – and luring Hutter to his castle while establishing himself in Wisborg is all part of Orlok’s plan to come to the “modern world” and claim her, spreading death and plague in his wake.
If there’s anything that slightly lets ‘Nosferatu’ down, it’s the fact that Eggers’ version – aside from the more explicitly perverse relationship between Ellen and Orlok – doesn’t hold many surprises. As fans of either previous version of ‘Nosferatu’ or many adaptations of ‘Dracula’ itself will know, this more or less follows Stoker’s time-tested narrative. Orlok imprisons and nearly kills Thomas before leaving for Wisborg on a doomed ship; his benefactor there, Knock (aka Renfield), arranges for his arrival while going insane; and as Thomas escapes and attempts to get home, a band of loyal friends, including the Hardings, Dr. Sievers (Ralph Ineson), and eventually the eccentric Dutch doctor/metaphysician Albin Von Franz (Willem Dafoe), join forces to protect Ellen against the peril coming for her and Wisborg, at great danger to themselves.
But while the story is familiar, Eggers drenches it in so much rich detail, thick atmosphere, and powerful malevolence that he perhaps creates the most immersive interpretation yet. And even though his Orlok/Dracula has moments where he is almost pitiable, this is perhaps the most purely monstrous version of the iconic character, an embodiment of evil and living death personified in one amazing shot of the shadow of his hand reaching across the darkened rooftops of Wisborg. “Nosferatu” and “Dracula” itself have always used their central character as a metaphor for many things, but the depravity and destruction he brings with him here are tangible like never before.
Also tangible is the time and place of Eggers’ tale, brought to life by his regular collaborators like production designer Craig Lathrop, DP Jarin Blaschke, and costume designer Linda Muir, who all bring an astonishing level of specificity and tactility to the darkened world of ‘Nosferatu.’ Blaschke in particular pays homage to the many versions of this tale that have come before – an eerie sequence in which Thomas walks through a dead forest as Orlok’s spectral coach approaches to pick him up could have been right out of the Murnau film – while creating a Gothic palette that’s wholly original to this movie.
With his filmography to date, Bill Skarsgård may become a modern Lon Chaney, the silent film star who specialized in grotesques and monsters. He draws upon both the Schreck and Kinski versions of Orlok, as well as Gary Oldman’s Count Dracula, yet provides a wholly new interpretation of the legendary vampire. Aided by incredible makeup from David White and Linda Muir’s costume, Orlok looks like a real 16th century Transylvania nobleman – albeit one that has been decomposing for centuries.
But all the makeup in the world could not do the job if Skarsgård himself didn’t fully inhabit the role, his blazing eyes and genuinely chilling voice delivering the immensity of Orlok’s depravity and even some of his self-pity and existential horror at his own existence. He, Eggers, White, and Muir have created a monster for the ages.
The other big story of this superb cast may be Lily-Rose Depp. Saddled previously with the HBO debacle ‘The Idol,’ Depp makes Ellen the driving force of the story, her unknowing attraction to the darkness battling with her yearning for a normal life and her love for Thomas. It’s that conflict within that makes Ellen come to life, the two sides to her personality also a metaphor for the women of the era – and many other eras – torn between knowing their “station” and forging ahead with lives of their own making. Depp finds both Ellen’s loving nature and her tragic inner self, as well as the darker aspects of her personality that are brought to bear by the presence of Orlok.
Nicholas Hoult’s Thomas is also given more depth here than the usual stalwart hero he’s portrayed as. Thomas starts out as a relative innocent, dedicated to providing for his wife and their life together, but his exposure to the corruption of Orlok changes him permanently. Hoult – who’s already having a hell of a year with ‘Juror #2’ and ‘The Order’ – delivers another solid performance as a man whose entire view of the world and what exists in it is upended with terrible results.
The other actors – Taylor-Johnson and Corrin as the loyal but increasingly frightened and exhausted Hardings, McBurney as the wildly demented Knock, Ineson as the rational Sievers, and of course Eggers regular Dafoe as the peculiar yet commanding Von Franz, round out an ensemble that does justice to each of their characters, all of them bringing an exceptional emotional and psychological commitment to the material.
Not only is ‘Nosferatu’ Robert Eggers’ most personal of his four films to date, a masterful retelling of a classic tale, and an achievement that secures his place among modern horror auteurs like Guillermo del Toro and Mike Flanagan, but it also resets the cinematic depiction of the vampire.
‘Nosferatu’ returns the monster to its ancient roots, particularly that of the Romanian strigoi and other manifestations in Eastern European folklore, shedding nearly all the modern romanticism of tales like ‘Twilight’ while retaining the creature’s symbolism as both a deliverer of death and a purveyor of primal, twisted urges. As a result, this ‘Nosferatu’ can stand proudly alongside its predecessors and may become a genre benchmark in its own right as time goes on.
‘Nosferatu’ receives 9 out of 10 stars.
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What is the plot of ‘Nosferatu’?
A young woman haunted by spectral visions comes under the spell of an ancient vampire, whose obsession brings unimaginable evil and horror to everyone in his path.
So far, HBO’s new series ‘The Idol’ has been more known for the controversy swirling around it than the provocative content of the show itself.
Created by ‘Euphoria’s Sam Levinson, Reza Fahim and musician Abel “The Weekend” Tesfaye, ‘The Idol’ hit the headlines back in March when Rolling Stone published a behind-the-scenes report of creative changes, chaos and sexually challenging scenes.
Levinson, of course, is no stranger to all that with ‘Euphoria’, but the news is threatening to swamp the show, even as it prepares to launch out of competition at the Cannes Film Festival next month.
(L to R) Lily-Rose Depp and Abel “The Weeknd” Tesfaye on HBO’s ‘The Idol.’ Photograph by Eddy Chen/HBO.
Part of that news included the departure of original director Amy Seimetz, who left in April 2022, leading Levinson to step in and start guiding the direction of the show.
“‘The Idol’s’ creative team continues to build, refine, and evolve their vision for the show and they have aligned on a new creative direction. The production will be adjusting its cast and crew accordingly to best serve this new approach to the series. We look forward to sharing more information soon.”
(L to R) Lily-Rose Depp and Abel “The Weeknd” Tesfaye on HBO’s ‘The Idol.’ Photograph by Eddy Chen/HBO.
What’s the plot of ‘The Idol’?
The series stars Lily-Rose Depp as Jocelyn, a fame-hungry young woman looking to take over the entertainment industry. When she meets Tedros, a powerful, sex-obsessed cult leader portrayed by Tesfaye, Jocelyn’s career expands to new heights.
Jocelyn and her team are inspired by the 1990s exploits of Britney Spears and co. but under the guidance –– control? –– of Tedros (who runs nightclubs but exerts a powerful influence over those who enter his orbit), that skyrockets in a whole other direction.
Lily-Rose Depp on HBO’s ‘The Idol.’ Photograph by Eddy Chen/HBO.
What was the reported behind-the-scenes drama on the show?
According to the Rolling Stone article, which included research interviews with several cast and members, the show began to change from the Seimetz-era story of a fallen pop starlet looking to reclaim her agency to a degrading love story with a hollow message.
Here’s what one crewmember said,
“What I signed up for was a dark satire of fame and the fame model in the 21st century. The things that we subject our talent and stars to, the forces that put people in the spotlight and how that can be manipulated in the post-Trump world. It went from satire to the thing it was satirizing.”
But several sources disputed those reports, with a statement from the company describing it as ,
“One of the most exciting and provocative original programs. The creative team has been committed to creating a safe, collaborative, and mutually respectful working environment, and last year, the team made creative changes they felt were in the best interest of both the production and the cast and crew.”
The truth, as often, appears to lie somewhere in between. We’ll see if the narrative shifts once the show lands on the Max streaming service on Sunday June 4th.
Abel “The Weeknd” Tesfaye on HBO’s ‘The Idol.’ Photograph by Eddy Chen/HBO.
(L) Jonathan Majors as Nat Love in ‘The Hard They Fall.’ Photo courtesy of Netflix @ 2021. (R) Legendary NBA player Dennis Rodman. Photo courtesy of the NBA’s YouTube channel.
Jonathan Majors has enjoyed quite the successful last couple of years in his career. He’s established one of the most complicated, watchable characters for the MCU in ‘Loki’, made an impact in Western ‘The Harder They Fall’ and is flying back to cinema screens for new Korean War drama ‘Devotion’. Oh, and in 2023, he’ll not only have his big-screen MCU debut in ‘Ant-Man and the Wasp: Quantumania,’ but will also prove a formidable opponent to Michael B. Jordan in ‘Creed III’.
You can understand, then, that he’s a man in demand. And now he’s considering taking on a plum role as Dennis Rodman in based-on-truth basketball movie ’48 Hours in Vegas’.
Jordan VanDina wrote a spec script based on the crazy story of how basketball star Rodman went on a madcap adventure with his skittish assistant General Manager in the middle of the 1998 NBA Finals. According to Deadline, “the film will detail a budding friendship that neither one of them ever thought was possible but will end up solving both of their problems.”
Though the story was covered comprehensively in Michael Jordan-Chicago Bulls documentary ‘The Last Dance’, VanDina wrote his script before the movie came out, and sounds like it could be a fun romp.
Lionsgate won the rights to the script, which also boasts the producing power of Phil Lord, Chris Miller and their business partner Aditya Sood via their Lord Miller company.
No director is aboard yet, but with Majors close to a deal, we figure this one will be hitting the production court next year.
In 2016, Jon M. Chu directed the sequel, ‘Now You See Me’ (which really should have been called ‘Now You Don’t, but nobody asked us), and saw the return of the three men, joined this time by Lizzy Caplan for more illusions and further run-ins with the law.
Little is known about the plot for the third (beyond that it’ll include magic tricks and probably elaborate schemes) but given that Fleischer also worked with Eisenberg and Harrelson on the two ‘Zombieland’ movies, we’d expect them to be back.
“There are three things in this world I absolutely love… Jesse Eisenberg, Woody Harrelson and magic,” says Fleischer. “To have the chance to work with these two talented actors, as well as rest of the incredible cast of the ‘Now You See Me’ movies is a dream come true. I am a lifelong fan of heist movies – I love getting drawn in by the twists and the mystery where nothing is what it seems. And that’s even more true when the thieves are magicians – the opportunities are endless. Eric was able to unlock a fresh and exciting way into a new movie and fun new characters, so I’m excited to dig in even further.”
“Eric” is Eric Warren Singer, who wrote the original drafts of the movie, but Seth Grahame-Smith is now working on a new re-write.
(L to R) Jesse Eisenberg, Isla Fisher, Woody Harrelson, and Dave Franco in 2013’s ‘Now You See Me.’
Finally – and stepping outside of Lionsgate – there is news of ‘The Northman’ director Robert Eggers’ next movie.
He’s been developing his own take on classic vampire tale ‘Nosferatu’ for Focus Features and has now locked down his leading duo.
Bill Skarsgård, probably still best known for playing Pennywise in the ‘It’ movies, is back in a horror mood for the new film, alongside Lily-Rose Depp.
Per Deadline’s report, in the new reimagining, ‘Nosferatu’ is a gothic tale of obsession between a haunted young woman (Depp) in 19th century Germany and the ancient Transylvanian vampire (Skarsgard) who stalks her, bringing untold horror with him.
This is one that Eggers has been trying to make for a while – its development pre-dates ‘The Northman’ and at one point he had Skarsgård, Anya Taylor-Joy and Harry Styles attached to star.
With Eggers writing and directing as usual, the movie should be shooting next year if the schedules line up. Time for Eggers to finally do some vamping…
(L to R) Alexander Skarsgard, Nicole Kidman, director Robert Eggers, Willem Dafoe, and Anya Taylor-Joy at the Los Angeles premiere of ‘The Northman.’
As friends and family gather on Christmas Eve tensions rise – but not for the usual reasons. It’s slowly revealed that the end of society as we know it is nigh. As a poisonous cloud descends upon the United Kingdom, petty differences are worked through, grievances are aired, and despite it all, love remains all around them.
Griffin sat down with Moviefone ahead of the gala presentation of ‘Silent Night’ at the Toronto International Film Festival.
Moviefone: How did you first decide to combine a holiday film with an apocalypse film?
Camille Griffin: First of all, I’m the annoying person at a dinner party who wants to talk about real things, and I get on people’s nerves, because I’m not talking about nonsense. And I’ve noticed that a lot of people don’t have the tolerance or the energy to always have big, dramatic conversations. And I don’t mind having a polite argument or something and then like having a drink. I like having difficult conversations. But I know that a lot of people don’t. So that, for me, is why I tried to make a comedy because I wanted to talk about important things, but make it entertaining, and not lecture or be a bore. I thought if I have a load of great actors playing great characters and great dialogue and funny moments, then I can maybe get some important points across. I just wanted to ask questions with the film. I’m not trying to give the answers obviously, you can obviously have a clue and insight into my political values. I sound very middle class, I was brought up middle class.
I used to get very sentimental at Christmas. You miss the people you haven’t spoken to, your friends that you’ve fallen out with, or your family. That dodgy brother or sister who annoys you. There’s a sentimentality about Christmas, and relationships and friendship. And I think as I’ve got maybe weller, emotionally and psychologically older, I’ve become less sentimental. But there’s something so profoundly powerful about the sentimentality of Christmas, and how we want to be with your loved ones and friends and family.
MF: Was the Michael Bublé song ‘Christmas Sweater’ written for the film? It’s used very uniquely three or four different times.
Griffin: Matthew Vaughn, who was my original producer, and still producer, but then he brought on Celine Rattray and Trudie Styler. Matthew is a great entrepreneur. Other than being a filmmaker and producer, he has his hands in many creative pockets. He was tinkering on his piano and came up with this Christmas song. He took it to Gary Barlow, from Take That. He’s an amazing songwriter. They’ve written songs before, and they came up with this. Our composer Lorne Balfe, he only admitted to me last minute that he also worked on the song.
Matthew said we need to shoot a beginning where they’re all on their way. I said, so they can play your Christmas song? And he said yes. So then the song had to then be brought into the film and became part of the storytelling. But it didn’t originate from me, and it didn’t originate from my film, but I did take the song. And I love that you notice that it has an unusual usage. He asked who do you want to sing it? I said, it’s got to be Michael Bublé, Michael Bublé is Mr. Christmas, you know? And then he was like, I’ve got Michael Bublé!. I said we have to integrate throughout the film.
MF: How did you cast this large ensemble? Did you have any of them in mind when you were writing?
Griffin: I thought I was going to make the film for no money. Because I have been writing screenplays for an awful long time. So I came back from ‘Jojo Rabbit’ because my son was in ‘Jojo Rabbit’. And I saw Taika [Waititi] using comedy. And I thought, God he’s very clever to use this comedy idea. I’m going to use comedy, I’m going to write comedy. I’m going to write a really dark comedy, because all my stories were kind of melancholic and challenging. And I thought, okay, I can use comedy that’s going to make it so much better. Or when I make my movie, that’s a very rich person I know for money. And I went to Matthew Vaughn for advice. And he said, I’ll make your film. I’d written it for my friends who are actors, because I used to be a camera assistant for many years. I’ve worked in the industry for a long time, and I’ve accumulated friendships with some actors. I wrote it for people who are my age. One of the first things Matthew said was, Oh, we got to cast much younger, we’re old Camille. It really hit me, hearing him say we’re old, actually really hit me because I’ve never had a problem with age. I have to be honest, I didn’t write the film for that cast, because I wrote the film for a much older cast.
But as soon as he had that conversation, I was like, okay, well, wouldn’t it be amazing to have Keira Knightley play Nell? Wouldn’t that’d be fun, like, this whole kind of Working Title beginning and the idea of perfection and Christmas happiness. And I was like, we’ve got to get Keira. She’s Miss Perfection and sweet. Audiences think of her as like the perfect British jewel. We had a causal conversation right at the beginning of our development process, then months later he said Keira Knightley had read the script and wanted to talk to me. So it all starts with Keira, and she loved it. We had an amazing conversation on the phone, then we met in person and I fell in love with her. And then people wanted to work with Keira, but we were very careful with who we cast because everyone in the film is a version of who I’d written it for originally, if that makes sense.
They’re exceptional. There isn’t one person that I’m not so grateful to because they were really up for playing. They were up for being extreme. They were all up for trying things that weren’t comfortable. I was so lucky. I had to cut a few times because I couldn’t stop laughing. I couldn’t believe they had this endless pit of delivering brilliant performances.
MF: Keira’s boys in the film are played by your sons. How did you decide to cast them?
Griffin: So the three boys are mine and Davida McKenzie is a friend of ours. She’s Thomasin McKenzie‘s little sister. The boys had become close to her on ‘Jojo Rabbit’. It wasn’t that I just wanted to cast my kids, I obviously wrote the part from Roman and Roman and I had been on a long journey together with him wanting to act way before ‘Jojo’, and thank God for ‘Jojo’ it changed his life. But I knew that the kids were going to be part of a big gang of actors, and that the characters were going to be subjected to a certain amount of trauma. We did meet some kids because Davida lives in New Zealand, she’s bloody miles away. I kept saying, I want Davida, but she’s in New Zealand, we can’t afford to bring her over. We did audition other actresses, but they just didn’t have what she had. The kid needs to feel safe, because she’s bullied through the whole film, and if she’s got her friends, Roman, Gilby and Hardy, they’re all friends, she’ll feel safe.
Also, I don’t want to kill other people’s kids, I’d rather pretend kill my kids. They’re going to be fine because they know it’s a conversation, it’s a metaphor. But I didn’t want to do the same to someone else’s child, who then didn’t feel safe. My kids and I had these, we have quite an extreme family, we’re quite volatile and passionate and loving. So I just thought it’d be safer for them as children if they were my children and our friend.
MF: What do you hope people feel after they’ve walked away from this film?
Griffin: I don’t want to hurt anyone because I know the film is upsetting. I’ve cried a lot myself through the film, because I care about those characters. They’re also very dysfunctional characters, they’re very flawed characters, but I cared about them because they became real. I think we all believe that there should be a slight trigger warning in the film. I don’t want the audience to be angry or hurt, which is why it’s important that they’re not tricked. I’m very grateful there’s a slight warning that, you know, it’s a dark comedy, and there’s death in it.
I do want people to think, you know, how do we treat our younger generation? Do we allow them to ask questions? Do we listen to them? Do we allow them to challenge us? They’re going to have to inherit a damaged planet, they’re going to have to inherit a damaged society. I also think, fundamentally, do we give a shit about each other? Like, I care? Am I doing enough? I’m not doing that much, because I’ve got three kids to look after. And if I think I’d like to leave the world a better place, but I’m feeding and cooking and helping them. But because I think okay, well, I want to be a filmmaker, and I’ve wanted to be a filmmaker since I was a young child. So maybe if I can ask the questions in cinema, and we can walk away and go, well, Jesus, that was hard, that wasn’t easy to watch. It’ll make us think, are we doing enough? Are we recycling enough? Are we paying enough taxes? Is our government making the right decisions? Are we getting vaccinated? Do we care about our neighbor? You know, how do we care about racism? Are we going to change our political view? The characters say, we should have voted Green. It’s like, yeah, maybe we should all be voting Green. So I like to think that, you know, Trump’s gone now, thank God. But there’s a lot of recovery from the mistakes my government has done and the American Government’s, certainly. That’s what I’m trying to achieve with the film.
MF: Could you recommend another female filmmaker that inspired you who readers should seek out?
Griffin: I think the interesting thing is there’s a lot of women writers, there’s a lot of women, cinematographers, there’s a lot of women actors, and I think they’re all artists. Recently I’ve been recommending a film called ‘Polisse’, not because I’m saying it’s one of my absolute favorite films, but because it’s a film I saw at the Cannes Film Festival many years ago by a filmmaker called Maïwenn, who had been an actress. It was an extraordinarily powerful film about the French police system and children. And I remember just sobbing and sobbing and for weeks I was obsessed with her film and obsessed with her as a filmmaker. It’s not easy. I don’t have easy conversations. So if someone wants something fun to watch, they shouldn’t watch that. But it’s called ‘Polisse’ and it was breathtaking.
‘Silent Night’ premieres on September 16 as part of the Gala Presentation series at the Toronto International Film Festival this year.
If you’re curious as to what new movie this week might be best for you, Moviefone is here to help you find it and watch it. This week’s selection of movies features comedic superheroes, kids in space, a haunted hospital, canine companions, French skiers, and a queer war drama from South Africa.
Thunder Force (Netflix)
Melissa McCarthy and Octavia Spencer in ‘Thunder Force’
Melissa McCarthy’s Lydia and Octavia Spencer’s Emily met in school and have been best friends for decades. Or they used to be, anyway. Living in a world plagued by super-powered bad guys called known as Miscreants, Emily has spent her life working out how to grant superpowers to those that would fight for justice. And Lydia found her calling in… heavy equipment. Emily’s brilliantly-derived serum gives Lydia super-strength, and though that strength was meant for Emily herself, she settles for invisibility. Now with comparable powers to the Miscreants, the two estranged friends form “Thunder Force,” and with McCarthy’s husband Ben Falcone directing, hilarity ensues.
Watch this if… you’re a fan of Melissa McCarthy or Octavia Spencer, or if you think that superhero movies have been taking themselves way too seriously lately. Yes, we’re looking at you, Justice League.
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Voyagers (In Theaters)
Tye Sheridan and Lily-Rose Depp in ‘Voyagers’
One of the biggest challenges facing would-be planetary colonists is how humans could manage to live in an enclosed space to embark one a trip that could last for generations. The scientists in ‘Voyagers’ (led by Colin Farrell’s Richard) theorize that if the humans in question were born into that enclosed space, then they wouldn’t know what they were missing, and would be better suited for the trip. As the project’s genetically engineered kids prepare for departure, Richard decides to join them at the last minute, to guide them as they grow up. After a few years in space, the now-young-adult colonists start to learn more about their environment, and they begin to question obligations to the colonization program. The disagreements lead to violent confrontations, and soon the entire crew’s very survival is at risk.
Watch this if… you’ve ever wondered what would happen if beautiful people were raised in a bubble and sent into space, or you want to see Colin Farrell as a father figure.
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The Power (Shudder)
Rose Williams in ‘The Power’
Val (Rose Williams) is a nurse trainee working in a dilapidated hospital in East London in 1974. That year saw major power outages due to a miners strike, and these historical details set the stage for this ghost story. Most of the patients in the hospital have been evacuated to other facilities, but Val has to work the night shift, watching over the remaining patients in the parts of the hospital powered by a generator. Val hasn’t told the other staff about her fear of the dark, related to her childhood trauma. A malevolent force in the hospital senses that fear (like they do), and uses the abuse from Val’s past to torment her in the present.
Watch this if… you like scary movies with something to say.
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We Don’t Deserve Dogs (VOD)
Major, one of the subjects of ‘We Don’t Deserve Dogs’
Filmmakers Matthew Salleh and Rose Tucker have put together a documentary that examines the relationship between dogs and humans. By some quirk of evolution, one particular type of canine and one particular type of primate have formed a symbiotic relationship that has lasted for millennia. This isn’t a science lesson, though; Salleh and Tucker focus on quite a few specific examples of relationships between dogs and people, and share the universal similarities in those relationships while also celebrating the differences across cultures.
Watch this if… you love dogs or even just animals in general. Or you need the reminder that there are still good things in the world.
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Slalom (In select theaters and VOD)
Noée Abita in ‘Slalom’
In her debut feature director Charlène Favier takes on this story of Lyz (Noée Abita), a 15-year-old skiing star, and Fred (Jérémie Renier), her coach, and a former champion skier himself. Fred puts her through a grueling training program, both physical and mental, but Lyz meets those challenges and shows she has the potential to be an elite professional athlete. Fred’s predatory nature becomes more obvious as training continues, and Lyz will need to discover how to get out from under his control.
Watch this if… you enjoy sharp dramas with powerful performances, and you can handle subtitles.
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Moffie (In select theaters and VOD)
Kai Luke Brummer (center) in ‘Moffie’
In 1980s Apartheid South Africa, military service was compulsory for all white boys over the age of 16. Young Nicolas (Kai Luke Brummer) has to complete his service and support his country against the “black danger,” but there’s another institutionalized bigotry Nicolas is trying to hide from, in the form of the Army’s rampant homophobia. As Nicolas sees a possible relationship with a fellow recruit, it becomes harder and harder for him to survive the brutal sensibilities of the soldiers around him.
Watch this if… you’re open to a powerful story about LGBTQ experiences from other parts of the world.
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Neil Burger (“The Upside,” “Divergent”) wrote and will direct the sci-fi-thriller about 30 children who are sent on a mission to populate a new planet. After the captain of the mission is killed (oops, is that Colin Farrell?), the young crew descends into chaos.
So, “Lord of the Flies… in Space”?
Production is scheduled to start in Romania in early June.
