The director of one of the most fucked up horror films unpacks his masterpiece and working with Robert Pattinson.
to rapturous reviews and standing ovations all round, before heading to Toronto Film Festival where it was met with similar acclaim. And now, Robert Eggers has arrived in London ahead of its UK premiere. Jetlagged and at the end of a long day of press, his fatigue is a conspicuous presence in the hotel room where he’s conducting interviews. Still, he’s mastered the art of them.
I mean, obviously it feels good. I can take a compliment, but of course I didn’t know how this film was going to be received, and I was utterly terrified at Cannes. People liked. I thought it was good enough to get some kind of distribution: straight to VOD, a weekend in a New York and LA arthouse theatre and then goodbye forever. I hoped that it would do something, and that someone might let me make another movie again. But instead it was quite successful, and changed my life.
The atmosphere comes first for me. The look and feel and smell and texture. Black and white, 35mm negative was always tagged, ever since my brother said, ‘a ghost story set in a lighthouse’. I’m more proud of this thanThe shoot is discussed as being a fairly arduous process in terms of the horrible weather. Did it feel like this was a blessing in establishing the mood of this film?
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