Patrick Z. McGavin
Picture edit London -born pictures, Louise Ford and independent movie producer Robert Eggers’ creative pairing has led to the most distinctive movies in American movies, including the 2019 ARTHOUSE popular movie movie “lighthouse”.
Ford said: “I think we will become friends even if we do not work together, because we have similar interests.” “We combine our love for movies.”
Their fourth function “NoSFERATU” is a sexual reconstruction of the “Dracula” of Bram Stoker. It is recredited in the form of a vampire Count Orlok (Billskarsgård). He is played by the young Ellen Hutter (played by Lily-Rose) -Rose play) DEPP).
In a recent interview, Ford talked about the evolution of their creative partnership, the principle of picture editing, and how to give contemporary sensitivity to Gothic classics.
Movie: How do you describe the creative evolution of the four movies shot with Robert Eggers?
Louise Ford: Robert has worked with me for nearly 20 years. When we met his short film “The Tell Tale Heart” in 2007, this was actually the first thing I edited. At this point, he is one of my closest friends. He described it as a relationship between siblings, which is a good way to think. Our illustrations of the Victorian era, hammer terror and the mutual love of David Link’s movie.
Movie: During the editorial period, is he in the room with you?
Louise Ford: We are a bit in a constant conversation, even between projects. He would send me a script, so I really participated in the script stage of his movie. You know how to improve the advice of the script. He will continue to study before we get green and start production.
Once I put the rally together, he will enter every day. He usually has a table in the editing room and works in the next script. No matter where we cut, he will bring a book library for his reference. This is very wild-it is difficult to disperse, because they are often obscure, and they are always super grocery.
I think [2015’s] “Witch,” he wanted to see every scene when we arrived at the scene. Since then, he believes in my judgment. If he remembers a specific thing, or when the original shooting evolves in the editor, we will only perform strange scenes or two scenes in strange scenes.
Movie: The story of “Nosfeetu” was previously told: FW MURNAU’s 1922 “Silent Movie” is considered the landmark in the history of the film, as well as the German version of Werner Herzog 1979. How much pressure do you have to distinguish your movie?
Louise Ford: I mean, this is a very good problem. I am glad that I did too much until now. Robert got along with this story. The film has first seen Murnau’s original work since he was 9 years old. It attracted his claws, so he has been obsessed with this since then. He also knew that he had his own vision for the story of that story, and these stories have evolved.
Therefore, I think I have great confidence and confidence in Rob (Rob) as a writer and director, so that history does not have so much to me. Maybe I am stupid? However, I think this starts from the script. Robert has added some of his own ideas. These ideas are not in those movies, even in the original materials, that is, Bram STOKER (Dracula).
Robert returned to the original information of Stoker, the historical records and folk myths of vampires in Eastern Europe, so his version actually filled some gaps, and some things have been confused about this story. For example, why do Hutter (Nicholas HOULT) must go to Transylvania to meet or Orlok when buying a house in Wesburg? There is a line in this version. In the office of the real estate agent, Simon McBurney, Herr knocked on the door, Orok is too weak and unable to travel, Orlok us I already know this story.
In addition, in all the incarnations of Dracula/North Ferrarto, we only heard the strange Roman customs in the villagers (in Muerho movies, there is a book in the hotel, which is a book.
As far as I know, this is the only version we actually witnessed the torch ceremony. Together with the Virgin Mary, we brought Rom people to the so -called vampire’s grave. It acts as a visual scene, but it also increases Hutter’s experience of being seduced, and becomes a stranger on strange land. When he woke up in bed in the morning, he was not sure that it was a dream until he saw the mud on the boots. It intends to make itself with the audience. The pioneer in the following is more obvious.
Movie: Gothic can be one of the most difficult literary adaptations, because tone is so water -skiing and elusive. How did you achieve this tone in the editor?
Louise Ford: Robert and I am obsessed with this world. When I was young, I was reading the ghost story. I am interested in folk stories and myths. Therefore, I have felt what this atmosphere should look like. If you think of the “screw screw” of Henry James, Arthur Machen’s “The Great God Pan” or the “Usher House” of the “Usher” house ” plot.
Therefore, when you consider all the elements we have as a movie producer (picture, sound design, music), you will think that creating this feeling on the screen may be easier than the screen that can be used only on the page. Therefore, it is curious that there are not many movies that successfully do this. The “innocent” of Jack Clayton [a 1961 feature based on “The Turn of the Screw”] It is the most successful movie I can think of. I know this movie is on ROB. I and our photographer Jarin Blaschke have a great influence.
Movie: Can you think of an example to explain the emotions and atmosphere of the editor?
Louise Ford: As for creating this atmosphere for “NoSferatu”, I have such a mouth-watering element in editing Lathrop’s amazing production design, and the beautiful cost of Linda Muir. This becomes a choice, illustrates the lens in the sequence, and manipulates the image to make them do what I want to do to maintain tension.
For example, when we first encountered Orlok, as Hutter arrived at the distance of the castle, its shooting method quickly, Orlok turned away quickly and started to leave us. But I want to let him stand there, there are definitely a few beating-I am not sure why, I can only say that it feels right, or maybe it gives people a sense of attention, a feeling of premonition or fear Essence
In any case, I manipulated (the effect of using the enthusiasm) to make him stand there, let us have time to go to the medium Hutter lens, then bow, then bow, and then cut the shooting, let Orlok stand there another beat there, before turning, before turning, Essence
When I cut the sequence for the first time, from the Moon Road intersection to the castle stairs, I used Alan Splet (Alan Splet. They were priceless. Then, Damian Volpe was given After me a song, the atmosphere of the “Internal” at the “Okoc Castle” atmosphere of the “Okoc Castle” atmosphere, this is only to bring it to another level.
Movie: From the beginning, it reduced all the differences between dreams and reality.
Louise Ford: Yes, this is the key. Whenever Robert is filming, the studio always pays attention to whether the camera should be too dark, so that the audience can’t see what happened. But you know that this is part of your imagination as an audience. You are watching such movies, and because you can’t see everything, your imagination has entered the town, which is one of the reasons why they are so immersive.
I always think that if I sit in the theater, the worst thing is watching movies. Then, every beat of this story is clearly depicted, and you know exactly what will happen next. You are not engaged at the level of subconscious, nor have you been invited to join the story. I think Robert is good at doing this, which is a combination of rhythm and photography. Music and sound effects related to editors will be integrated. You should fall into the story as soon as possible.
Movie: How conscious of making the modernization of materials so that it makes it easier for contemporary audiences to get it?
Louise Ford: I think Robert has decided to make Lily-Rose DEPP a clear protagonist and hero of the story from the beginning, rather than let the “vampire hunter” sway and save the end of the day. (“Dracula” like them), hoping to make it more correlated in 2025. But I know his decision organically thinks about this story, rather than a conscious decision. Ellen is the hero in Murnau’s movie, but we finally discovered only-reflecting women’s reflection of less complicated and passive ways 100 years ago.
For the editor, we must watch the rhythm and know that the patience of modern audiences is much lower than the previous generations, because we have greater experience in watching movies, and we are accustomed to visiting the phone screen instantly through the Internet and tablet computers. Both Rob and I are very aware that you must let the audience entertain. We are fortunate to be a producer and consultant in this movie’s Chris Columbus-he respects Robert, Jia Lin and me during the entire shooting and editing process, but no one knows like Chris like Chris like Chris. In modern mainstream audiences, his notes are priceless. Essence
