Mad Max: Fury Road star Nicholas Hoult is in talks to join Bill Skarsgard in Robert Eggers’ remake of the horror classic Nosferatu.
Nicholas Hoult is in talks to join Bill Skarsgard in Robert Eggers’ nosferatu redo. The famous silent film director FW Murnau set the stage for many vampire movies to come with his 1922 nosferatu. Loosely based on Draculathe expressionist classic inspired the infamous Werner Herzog into a 1979 remake starring the equally infamous Klaus Kinski.
Vampires, of course, remain incredibly important to pop culture 100 years after Murnau made nosferatuas evidenced again by AMC’s new adaptation of Ann Rice’s Interview with the vampire. So it’s no surprise that nosferatu itself is dug up again, this time by the Norman Helmer Eggers. Indeed, frequent Eggers collaborator Anya Taylor-Joy originally planned to recreate the vampire classic with Harry Styles. But both original stars later had to drop out, opening the door for Skarsgard and Lily-Rose Depp to step in.
Now, another major actor is reportedly about to sink his teeth into Eggers’ remake of nosferatu. According to Deadline, Mad Max: Fury Road star Hoult is in talks to join the cast alongside Skarsgard and Depp, though Hoult is exactly nosferatu role is not yet known. Coincidentally, Hoult also plays alongside former nosferatu actor Taylor-Joy in upcoming horror comedy The menu. And he also happens to play with Nicolas Cage in Renfieldanother Dracula-based vampire story (although in this case a comedic story).
Why Robert Eggers’ Nosferatu Will Be WEIRD
nosferatu Writer-director Eggers is clearly no stranger to the horror world, as he began his feature film career with the highly atmospheric and psychologically haunting The witch, starring Taylor Joy. Eggers then followed this up with another foray into the underworld between the real and the unreal, the Willem Dafoe-Robert Pattinson two-handed The lighthouse. And this year Eggers released his third feature film in the Normanstarring an insanely torn Alexander Skarsgard as a Viking warrior on a quest for revenge, in a film that managed to make life in the Middle Ages seem both terrifyingly terrifying and nightmarishly trippy.
While Eggers’ previous three films can be said to all live in different genres, they all share certain traits that the director has become: an obsessive fidelity to the period in terms of design, a story that, to some extent, is about folklore and a willingness to take on strange and surreal images at any given moment. Indeed, the surreal aspects of the films are perhaps the most striking, leading to indelible images such as Taylor-Joy’s walk through the woods to join a coven at the end of The witchor the various bizarrely hallucinatory ritual scenes in the Norman. Obviously, Eggers is not one to ever try to rein in his imagination, no matter how strange or inscrutable his ideas may be. And that alone is enough to assure his opinion nosferatu will be a uniquely strange and powerful experience (which it should be, considering in whose footsteps he walks).
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