Actor Doug Jones is no stranger to playing creatures a hair to the left of normal. From his portrayals as Abe Sapien in Hellboy to the Silver Surfer in the second Fantastic Four film to the Faun and the Pale Man in Pan’s Labyrinth, it’s clear that Mr. Jones has an affinity for bringing depth to characters beyond the surface of their otherwise fantastical and sometimes macabre outward appearances. As such, it’s no wonder that the actor would want to try his hand at playing one of cinema’s most weird creatures of the night, Count Orlok, the vampiric lead character in the 1922 German Expressionist film Nosferatu: A Symphony of Horror. Teaming up with director David Fisher, the duo have launched a Kickstarter campaign to bring a remake of sorts to life. I say of sort because Mr. Fisher, best known for his work on The Cabinet of Dr. Caligari, is planning to apply a filmmaking technique to the production known as visual remix, which will include melding footage from the original Nosferatu with new performances by Mr. Jones.
I had the chance to speak with Mr. Fisher and Mr. Jones about their Kickstarter campaign, their love of the original Nosferatu film, and their artistic sensibilities toward making Nosferatu a reality.
FreakSugar: Mr. Fisher, you mention in your video on the Kickstarter site that you feel like the creators of the old monster movies did it best. Is that what influenced you to go into directing? What monster films did you love watching growing up?
David Fisher: I’d say seeing Star Wars ultimately made me want to be a director, but the old horror films made me love film. When I was young there was a show out of San Francisco called Creature Features hosted by the late, great Bob Wilkins. He’d nonchalantly smoke his cigar and introduce all kinds of old classic horror movies, and that’s how I came to love them. The first one that really struck me as a kid was Night Creatures starring Peter Cushing. His band of smugglers riding horses dressed as glowing skeletons made a huge impact on me. But my favorites are the classic Hammer films of the ’60’s – especially the Edgar Allan Poe tales starring Vincent Price. I still watch those films whenever I get a chance.
FS: What is appealing to you about tackling the original vampire from the Nosferatu film? What makes the vampire stand apart from other vampires of today?
Fisher: The reason I wanted to do Nosferatu is because he’s so different than a modern day vampire! Orlok reminds me more of a fundamental force of nature. He’s like an earthquake or tornado – he’s definitely destructive but not necessarily evil. He just is what he is and does what he does. Instead of glossy and seductive, he’s hideous and elemental. He’s very different and that’s why I like him.
FS: You talk about the style of filmmaking known as visual remix. Was this an idea always in the back of your head, to use be able to blend old and new? Is this your way of preserving all of the beauty of the original while adding your own spin? How will how you approach visual remixing for Nosferatu differently than you did for The Cabinet of Dr. Caligari?
Fisher: When I made Caligari, we had very little money for sets, so the concept initially arose out of necessity. But as I started pre-production I realized it was a unique opportunity to get as close to the original film as possible. Working with the source material gave me great reverence for what the director and actors where trying to convey, so yes I wanted to restore not only their intentions but also the beauty of the film as well. On Nosferatu, the technological advantage we have since the last film is staggering, so the new approach will be to up our game not only cinematically, by in restoration as well.
FS: What version of Count Orlok do you plan to tackle? One that’s more monstrous, or a take that is a bit more sympathetic in nature?
Fisher: Again I view Orlok as more of a natural force. In the original film the Professor refers to a Venus flytrap as a metaphor for Orlok’s plague. But still, even though he’s destructive, one can’t help feeling sympathetic for him. It’s a mystery why because he really has no redeeming qualities. Perhaps it’s because he’s a slave to his own nature, and I think we can all identify with that feeling.
FS: What about films of the black and white era and, for that matter, German expressionism, that movie you? How do you put your own spin on the film to combat “remake fatigue”?
Fisher: I’ve always had a visceral affinity to the German expressionistic films; originally because I simply loved the aesthetic, and later because I felt the idea of literally painting both the character’s and audience’s thoughts and emotions into the film’s world was an amazing concept. In terms of remake fatigue, the “remix” idea was never meant to be a clever way to avoid the negative connotations of the term. But unlike contemporary remakes that are often low on new ideas and usually just a financial ploy by a studio, I feel that because these films were silent, and their visually quality often degraded, we’re actually bringing a lot of new material and pacing that a modern audience can enjoy and relate to – while still retaining the true spirit of the original.
FS: For many, the original Nosferatu is THE vampire film. Do you feel any pressure to live up to fans’ expectations or, as a fan of the original yourself, do you feel that if you stay true to what you find appealing about the original that audiences will respond in kind?
Fisher: Yes, most definitely. Our number one intention is to create companion pieces to the original films; something to hopefully spark people’s interest in discovering the magic of the originals or bringing something expanded for the diehard fans. Unfortunately many think films of the era are boring and slow, but in fact these are the true cornerstones of modern day cinema. Many times people have said to me that they had heard of, but never watched the original film until they had seen ours. This is always the moment I know we’ve done our job.
FS: Mr. Jones, what is it about the character of Count Orlok that makes him so appealing to play?
Doug Jones: I love the romance that cinema has had with vampires, and Count Orlok was the first. His hideous look makes him more sympathetic to me as that misfit who doesn’t fit in the world around him — a theme I’ve always had a heart for.
FS: How does your portrayal of Count Orlok line up with the original? How much of your own performance are you using to add your personal touch to the character?
Jones: As with any character I play, he will come into me from many angles — the script, a reverence for [original Count Orlok actor] Max Shrek’s portrayal, collaborative effort with director David Fisher, and of course some Doug Jones. Any actor brings his own sensibilities and DNA to whatever character he plays. I’m looking so forward to seeing what ends up coming out of my long, lanky self as the misunderstood Count.
FS: With so much of your body covered in makeup and prosthetics for so many of your roles, how do you prepare physically for a role like Nosferatu? Does the mix of the look of the makeup itself and your own mindset make it work for you?
Jones: Being in the best shape a gangly fellow can be is where I have to start, channeling whatever physical quirks might come with a cold-blooded being who’s been alive for who knows how long with a lifetime of wisdom and sorrows that go far beyond the mortal experience. I want to take all that on physically if possible. Then once the make-up is applied, including the shaping of Count Orlok’s distinctive shoulders, the mirror will indeed inform the performance some.
The Kickstarter campaign for Mr. Jones and Mr. Fisher’s film has less than two days left, but they have already exceed their goal! If you have an affinity for old school horror combined with modern moviemaking sensibilities, you can still visit their Kickstarter campaign page and donate!