An alternative is the $70 million Viking story “Northman,” which premiered in theatres on Friday. Retribution for his uncle, a swordsman prince who killed his father (Ethan Hawke) and escaped to a lonely Icelandic village, stars Alexander Skarsgard Amelith, a swordsman prince. Although the story is more clear than in past Eggers films, the quality of the filming is not compromised.
Director Eggers once told me, “You have to be arrogant to be a director,” over a cup of coffee in LA. One of the quirks of the field is that it requires you to both deny and create your own reality.
It’s safe to say that making “The Northman” was everything but smooth sailing, from the director’s conflicts with production company New Regency for creative freedom to staging large-scale outdoor battles. Although filming was scheduled to begin in March 2020, the pandemic caused a delay of several months in the schedule.
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A Sundance Film Festival best director award winner for his work on The Witch, the spooky thriller starring Robert Pattinson and Willem Dafoe, and The Lighthouse, a high-contrast mind-drinking frenzy, the 38-year-old director got his start with adapted craftsmanship house films.
There are times when an eccentric producer either smooths out his sensibilities in order to make a superhuman film or retreats to a web-based feature in search of creative control at a larger financial plan.
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Even though Eggers didn’t let his own meticulously trimmed beard get out of hand, the outdoor units were given ample opportunity to acclimate in a natural way. As he pointed out, a director’s beard shouldn’t be the longest. “When I was filming ‘The Lighthouse,’ I found that it is best to have the alpha beard.”
A great deal of [expletive] was given to “The Witch” for falsely promising a thriller. To put it another way, I think it’s a blood-and-guts movie, but I can see why some viewers were disappointed that their expectations weren’t met. In “The Northman,” I’m aiming to achieve both, which makes it challenging.
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Moving away from independent filmmaking meant not only dealing with larger sets, a larger cast, and more practical obstacles, but also handing over control of the final cut to the studio, since his first two films were affordable and entirely under his artistic control.
According to a recent New Yorker piece of Eggers, there was considerable resistance from the money men and test audiences during the post-production process. Now, he acknowledges that he was “frustrated” by the story that emerged from that interview; the truth contained a good degree of give and take.