"I'm Robert Eggers, the director

of 'The Lighthouse.'"

[FOG SIGNAL SOUNDING]

"This is the evening of Robert Pattinson's character's

first night working as an assistant lighthouse

keeper on a mysterious and remote island.

And he's not used to the loud sound of the incessant fog

machine."

[FOG SIGNAL SOUNDING]

"After having a tense dinner with Willem Dafoe,

he cracks a little--

perhaps his first crack in the movie.

We built every building in the film,

including a 70-foot working lighthouse.

That was partially because we couldn't

find locations that served the story, but also for control.

Some of the dramatic camera movements in the film

are written into the script as is.

And the lighthouse being so tall,

and our location being so remote,

and our budget being modest, we

weren't able to get a tall enough techno

crane to do a lot of the shots we wanted to do.

So Craig Stewart, the key grip,

had to invent various camera equipment

with ropes and pulleys to execute

these shots that were designed by me

and Jarin Blaschke, the photographer."

"But this boom shot up the center of the lighthouse

is the first of the moments that

might suggest that there is or could

be something supernatural happening.

And we wanted to create a mystery around the light,

around the Fresnel lens--

the jewel inside the beacon of the lighthouse tower."

[MUSIC CONTINUES]

"To ye,

ye beauty."

"The intention behind the cinematic language

of this sequence is to be somehow dreamlike

and one image leads to another in an elliptical fashion.

We learn, as the film goes along,

that the machine room where Rob is stoking the fire

is not at the bottom of the lighthouse.

But because we wipe from black to black,

you might get that impression, that it's like literally

at the base of the lighthouse.

But it's more conveying the feeling

that he's sort of in hell, where

Willem is sort of in heaven.

And these panning into black and then dollying out

of black or pushing into black and then pulling out of black

are devices we use in sequences like this

often to sort of get inside our characters' heads,

hopefully."

[EERIE MUSIC PLAYING]