The Northman, now playing in theaters (find tickets here), is a rare breed of modern film. Not only is it a Viking movie, but it’s a $90-million epic without any IP tie-in. It's directed by an independent film darling, Robert Eggers, who’s not yet worked on a film of this scale. For fans of The Witch and The Lighthouse, Eggers' previous titles, this is exciting. For those unfamiliar with—or even detractors of—those films, but who happen to be fans of Game of Thrones, this is also exciting.
The Northman is a brutal tale of revenge set in the 10th century in an unforgiving Scandinavian landscape that’s ruled by fate. Alexander Skarsgård stars as Amleth, a once and future king whose life quest has turned to revenge after his father is murdered by his uncle (Claes Bang). In our exclusive clip (below) you’ll see how Norse mythology plays out in this world — as Amleth ventures to a tomb to retrieve a sword that has been fated for him to wield, if he can defeat the re-animated corpse of the previous owner.
The Northman is a mix of of visceral elements—with gnarly violence and expansive one-take carnage—but it remains attuned to the spirituality of the region with mystical rituals. Anya Taylor-Joy made her film debut in Eggers’ The Witch. That folklore horror film not only introduced us to Taylor-Joy but also to Eggers’ meticulous detail-oriented approach to period films. The Northman looks and feels otherworldly, like you’ve been pulled into the past. In addition to offering an exclusive clip, we also had a chat with Taylor-Joy about reuniting with Eggers on The Northman. In the film, Taylor-Joy plays Olga of the Birch Forest, a Slavic woman forced into slavery in Iceland — where Amleth has also become a slave due to proximity to the kidnapped mother (Nicole Kidman) he intends to save and the man he desires revenge against. Amleth’s brawn is matched by Olga’s cunning and attunement to providence. Due to her busy schedule Taylor-Joy couldn't do the press day (our video interview with Skarsgård and Eggers is below) but we were able to snag her the day after seeing The Northman with an audience at the Los Angeles premiere. We discussed her allegiance to Eggers, her desire to be in the elements, and what made this set one of the more special shoots in her career.
Fandango: First, thank you for doing this. I mean, a make-up interview is very rare, and it indicates a certain level of pride in the film when it's done. What are you proudest of achieving in The Northman?
Anya Taylor-Joy: I think there's pride but also loyalty. I'm so loyal to this film family. It was such a pleasure to get to be back with people that literally gave me my film education. That goes from Robert Eggers, the director, to Jarin Blaschke, the director of photography, to Craig Lathrop (the production designer) and Linda Muir (the costume designer). It's these people that really gave me my first insight into filmmaking (with The Witch), and that I still hold in the highest esteem. I think I'm most proud of the images that we captured. It's very rare that I get to see, let alone be a part of something where I'm like, "I've genuinely never seen that before on a screen." And to get to sit with an audience yesterday and have them all experience it for the first time was remarkably special.
Fandango: That is a perfect segue my next question, which I'm sure you're being asked a bunch, so sorry for probably doing it again. But because your careers are linked by a very special debut film for both of you, The Witch, of course, could we start with how it's working five years later — how has Robert Eggers evolved on set, and how do you feel like you've evolved? Or, maybe both of you have retained a certain quality, as well?
Anya Taylor-Joy: I don't think I realized how much of my on-set behavior, and the way that I tackle every project, came from Rob, until I was back on set with him. And then just witnessing him do his thing, I was like, "Oh, that's where I get that from. That is straight up something that I have learned from you. And I have now taken to all of these different worlds and getting to be back with you again." I'm like, "Oh, this is my origin."
Rob has always storyboarded all of his films. I think that is something that's been retained. The budget is significantly bigger on this movie, which I think caused both of us some humor at times. I was like, "Wow, the equipment has definitely become larger."
But I think the nature of Robert's movies, it kind of creates an environment where everyone is very stuck in, and the roles where people are usually delegated to — they kind of disappear because the nature of making a Robert Eggers movie is so difficult, not just because of the shots we're trying to achieve, but because of the elements that we're battling. But it creates this really beautiful energy of camaraderie, of open problem solving, because everyone's in the same literal boat. And I'm really glad that that's been retained.
Fandango: You're setting up all of my questions, sequentially. It's kind of great. I'd actually met you both many years ago on the Salem weekend trip for The Witch —
Anya Taylor-Joy: Oh my goodness, oh gosh, I was just talking about that yesterday! We had such a good time in Salem.
Fandango: It was great! I made a lifelong friend that I met on that trip. But I remember you were hanging out with us all a little while after the Salem screening, and I could feel like the A24 reps be like, "Girl, you're the star. You don't have to talk to the journalists anymore." Which I'm thinking of, because in our interview with Robert for this film he wanted to point out how your professionalism has been maintained throughout. You’re a large star, but you know the names of everyone working in every department, you spend time with every part of the crew, and you don't live in your trailer. Does staying in the elements help you, particularly regarding this film?
Anya Taylor-Joy: I'm pretty gung-ho and potentially annoying about my passion for filmmaking. But we had a great time, and I think this is one of the few films where I think the behind the scenes is potentially as interesting as anything we presented as a finished product, because the reality of how we were getting these shots was a pretty gnarly. I really enjoy, and get off on physical difficulty in these situations. Everyone's like, "It's so cold, we're gonna get blown off this mountain." I'm like, "Isn't nature amazing?! Look at what we're trying to achieve! Look at what we’re up against!"
As for the character, I think the elements are something that is intrinsic to Olga, because I've never played a character before that is aware of what is happening directly in front of her, as a linear timeline, but also has an eye almost looking down from the sky at all of the events that are unfolding. Her belief in fate is so rock-steady, that everything has a double meaning, which is a really interesting way to look at any scene. Moving with the cycles of nature was something that was very intrinsic to her.
Fandango: Also, there was a lengthy break in filming due to pandemic. How did the story or shooting approach change when you guys were able to return? Or maybe it informed something different for you?
Anya Taylor-Joy: A twofold answer to that. One, I cannot overstate how immensely proud I was, and continue to be, of how production handled shooting with Covid. Nothing was spared in expense of our safety. And yet we did not lose an ounce of artistic flavor, or dramatically change the film that we were trying to achieve. It really felt like everyone just pulled together while it was very new. We didn't have a template of how to do this. I think we were one of the first films to start shooting during Covid, and they just really rose to the occasion and everyone stuck in. It required everybody to isolate. It required everyone to make sacrifices. And we were all so invested in making this film, that everyone did it, and did it with joy, which is a hard thing to do in the face of a pandemic.
I remember the first day that we got to actually shoot, because production halted on our camera test day, so we'd never actually shot anything when the pandemic started but we were testing and production had started. And so when we got back, I was just so overwhelmed with the luck and the beauty of this profession. It was already built in to shoot outside, and after having been inside for months, we got to actually make this film. I was just so, so excited. I'm always really, really grateful to be on set, but this is a different level of understanding just how lucky we were to be able to be doing the thing that we loved, together with people that we loved.
Fandango: The Viking movie is largely an untapped genre, surprisingly — and Eggers is very meticulous with research and period details. And, obviously, Alexander brought a lot of his own knowledge as well. What was something, or some things, that you learned about the mythology, or culture, that surprised you in the making of this film?
Anya Taylor-Joy: I think historically anytime Vikings have been presented on screen, it is almost exclusively blood, sex, and violence, really. Which, don't get me wrong, we have a fair amount of that in our film, and it was very much part of the culture. But I think I was surprised at the level of poetry that was included in day to day life. When you believe that every action is fated, and everything is watched over by the gods, and you are in direct co-creation with this universe, it just imbues everything with a different meaning. And I think, led them to lead very full, spiritual lives. That was something that I enjoyed getting into.
Fandango: A very quick, final question. If you could make a double feature for The Northman and pair it with a movie, what would you pair it with? Or, what would you suggest to prepare to watch The Northman?
Anya Taylor-Joy: Oh gosh. Probably another one of Robert's films. I'd want to be stuck in the way that he and Jarin present things to us. So yeah, probably The Witch. I'm trying to think of something that correlates The Northman. I guess, Gladiator or Braveheart, something like that. But definitely one of Robert's, The Witch or The Lighthouse because he’s so specific.
Fandango: Great, thank you. Thank you again so much for doing this and congrats on the film, and it was lovely to chat with you again.
Anya Taylor-Joy: Thank you so much. Appreciate it. Salem!
The Northman is in theaters now! Get your tickets on Fandango.
