It’s a technique Skarsgård picked up from assiduously studying Bela Lugosi’s Dracula and Murnau’s and Herzog’s versions of Nosferatu and even The Lost Boys. But that look—and the inscrutability and coiled tension he gives Eric—is also something he learned from hours spent watching nature documentaries.
“It’s, like, you see this big male lion, and he’s chilling in the sun, and he sits up and he looks at something, and you don’t know if he’s going to pounce or if he’s just going to go back to sleep,” Skarsgård says, his steely gaze unwavering, looking like he could easily break into a yawn. “You never know if he’s bored or he’s frustrated or what.
Oh, Details. I do not know what to make of you.
