Robert Eggers’s new movie—a loose pre-telling of “Hamlet” involving longships, volcanoes, and the singer Björk’s first cinematic role in 17 years—is out in April. It “might be the most accurate Viking movie ever made,” samknightwrites.
I dropped by the editing room the following week. Ford was working at a standing desk, with a model of a longship resting among three screens. Eggers sat against a wall, at a desk littered with books. A blind was pulled most of the way down. While Ford is processing footage, or trying a change, Eggers reads or works on his next script. They had been editing since the start of the year. “We’re like siblings at this point,” he said.
“The Northman” might be the most accurate Viking movie ever made. “This is kind of a dream for me,” Neil Price, an archeologist at Uppsala University, in Sweden, who worked on the film, said. “I doubt that I will ever encounter someone who has the eye and the concern for it that Robert does.” Skarsgård, as Amleth, wore a single pair of boots throughout filming, which Muir, the costume designer, repaired with strips of leather as they fell apart.
In the edit, Ford and Eggers checked for glitches during an initiation ritual for the young Amleth, which takes place underground. Eggers’s script said that the scene should smell of mildew and rot, with human bones sticking out of the mud. Gunnell had suggested Maeshowe, a Neolithic chambered cairn on the island of Orkney, as a reference for the location. “The hair continuity is a little weird,” Eggers observed, as figures came in and out of view.
It is hard going. During one scene in “The Lighthouse,” which was shot using camera lenses from the nineteen-thirties, Dafoe had to rise from a table, limp over to a coal stove, extract a burning cinder with tongs and light a clay pipe with his left hand, then walk to the window, in conversation with Pattinson, taking specific steps as the camera followed him on dolly tracks. “They gave me impossible tasks.
Taylor-Joy, who was working with Eggers for the first time in six years, realized how much of her conduct on set derives from their work together. “Who I am, or how I identify as a performer and a collaborator, really does come from ‘The Witch,’ ” she told me. “If you come onto a movie that’s already been storyboarded . . . and you know that’s the way the film’s going to look, I actually find that incredibly liberating,” she said.
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