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Robert Eggers has garnered a reputation for collaborating closely with a consistent group of department heads across his films. Costume designer Linda Muir emphasizes the rewarding nature of this collaboration, stating, “He’s there raising the bar and raising the bar.” According to Muir, the creative process can be challenging, but the satisfaction of seeing their combined efforts culminate in impactful results makes it worthwhile.
Hair department head Suzanne Stokes-Munton, known for her work with esteemed filmmakers like Martin Scorsese and Pedro Almodóvar, shares her appreciation for Eggers’s collaborative approach. “I’ve worked with many auteurs, and Robert stands out. The open dialogue allows us to challenge ideas, leading to a more thriving creative outcome,” she observes.
SEEOscar nominees Jarin Blaschke and Craig Lathrop discuss their collaboration with Robert Eggers in ‘Nosferatu’… and the upcoming ‘Werwulf’.
Muir, who has been the costume designer for all of Eggers’s feature films, and Stokes-Munton, who joined this project for the first time, are among the Oscar nominees from the acclaimed film **Nosferatu**. This modern adaptation of the 1922 silent classic has received four nominations, including Best Cinematography (Jarin Blaschke), Best Production Design (Craig Lathrop), Best Costume Design (Muir), and Best Makeup and Hairstyling (Stokes-Munton, makeup department head Traci Loader, and prosthetics designer David White).
Focused on the tumultuous relationship between a young woman named Ellen Hutter (played by Lily-Rose Depp) and the vampire Count Orlok (portrayed by Bill Skarsgård), **Nosferatu** delves into themes of darkness and obsession. Released by Focus Features on December 25, the film has become Eggers’s most commercially successful venture, earning over $172 million globally while receiving critical acclaim.
Creating Orlok
<p“The process begins with the script,” Muir notes, as the narrative is set in 1830s Germany, providing a historical framework for the costuming. “Instead of merely fabricating ideas, we research sources, illustrations, and accounts to ensure our designs reflect authentic folk aesthetics.”
Loader adds, “We aim for realism, aligning with the characters’ lifestyles. For example, Willem Dafoe’s character, who admires Orlok, is depicted smoking a pipe, so we added nicotine stains on his mustache and hands to create authenticity.”
Creating Count Orlok required a significant transformation for Skarsgård’s character. Prosthetics designer David White explains, “While it wasn’t essential for Orlok to resemble Bill, the sculpting had to honor his natural features. The goal was to avoid excess; the character reflects a Transylvanian noble whose life has gone awry. By maintaining a balance between decay and the underlying beauty of his features, we could evoke a tragic allure.”
Muir recalls the first time they saw Skarsgård in character, emphasizing the chilling effect of his makeup paired with the costume. “To see him move through the space, hearing the sound of his boots, brought a surreal quality to the scene.”
A Star-Crossed Finale
The climax of **Nosferatu** presents a haunting culmination of Orlok and Ellen’s fraught relationship, reminiscent of *Romeo and Juliet*. Stokes-Munton reflects, “It captures the essence of love’s sacrifices and losses.”
In developing the sequence, the makeup and hairstyling teams were particularly mindful of Depp’s character, as Loader explains, “This was the moment that displayed Ellen’s possession, a blend of beauty and unsettling contentment.”
For Orlok, White aimed to create a subtler appearance. “We wanted to tone him down to evoke a sense of melancholy without making him appear overly grim. His color palette is muted, serving as a backdrop to his character arc.”
Muir concludes, “The final effect is both feral and vulnerable, encapsulating the essence of their intertwined fates.”
**Nosferatu** has received four Oscar nominations. In the interviews, the makeup and hair team reflect on their innovative work alongside Muir, highlighting the collaborative spirit that defines the creation of this film.
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