Skarsgård’s comments about the making of The Northman will come as welcome news to fans of Eggers’ work who partook in the outrageous meticulousness in The Lighthouse. For the movie, starring Robert Pattinson and Dafoe, the chief utilized a 1.19:1 aspect proportion, Double-X-highly contrasting 5222 Kodak film and camera lenses from the 1930s to accomplish an exceptionally distinct older style feel. He also constructed all the sets specifically for the creation, including a period-precise lighthouse and lighthouse attendant’s cabin. From the sounds of Skarsgård’s descriptions, The Northman will see Eggers apply the same meticulous visual methodology as he has done previously, however on a lot bigger scale.
Eggers has as of now established a standing as one of the most interesting executive talents working today. Many of his previous works have established him as an exceptional and visionary movie producer, with The Lighthouse receiving various nods for Best Cinematography during the 2020 awards season. Given Skarsgård’s comments, Eggers obviously did everything to ensure that The Northman matches the highs of his previous efforts, and audiences will get to see the two his and the cast’s incredibly difficult work take care of when the film finally releases.
Skarsgård has described the meticulous detail Eggers sought in each aspect of The Northman during filming, and the cost it took on him physically. The entertainer describes Eggers as both a “perfectionist” and a “genius,” outlining how the “meticulously stylised” nature of the film implied that many scenes were shot over and again. Specifically, Skarsgård outlines how the a single shot fight sequences in The Northman were so exhausting that he would need to “cry” afterwards, admitting he’d never been so worn out than after the half year shoot. Find the entertainer’s full statement underneath:
“He absolutely is [a perfectionist]. But on the other hand he’s a genius … ‘The Northman’ was the first time I dealt with something that was so meticulously stylized, and you almost needed to see it as a dance between the camera and the actors, because the camera was constantly moving, as were we. In the event that the timing was slightly off, we’d need to go again. I’ve never been more drained than after those six months … To shoot everything in a single shot means you do this four-minute take, and afterward a horse somewhere down behind the scenes looks the incorrect way and you need to rehash everything … The fact that you need to cry makes You so exhausted. You feel like you finally sorted all the movement of the battle out, however at that point you need to go again and again and again. There’s always something behind the scenes that wasn’t exactly correct. The other side of that is the point at which you finally get it, it feels like winning gold at the Olympics.”