“The Lighthouse,” directed and produced by Robert Eggers, features props made by area resident Kurt Fosburg, who is a professional lampist and vice president of the Marquette Maritime Museum Board of Directors.

The black-and-white film tells “a tale of ‘cabin fever’ gone horribly wrong” as two men, played by Willem Dafoe and Robert Pattinson become stranded at a “desolate remote lighthouse during bad weather,” Fosburg said in an email.

While he was on the set, Fosburg worked with Craig Lathrop, a professional set designer who has worked on several popular films. And for Lathrop: “the main thing was his intense focus on detail; everything had to be perfect,” Fosburg said.

“They built a fake lighthouse on the shore near an actual lighthouse; the set I was on had the interior of the tower, and the top lantern room,” Fosburg said. “After they dismantled the one by the ocean they brought the top section to my set and put it up; we were inside a huge marine salvage building with a giant trolley overhead hoist system. It was amazing to see the actual sets; hard to believe everything is simply fancy painted plywood! The carpenters built the sets, the paint crew made them look old and realistic; it was cool to see the process.”

This image released by A24 Films shows Willem Dafoe, left, and Robert Pattinson in a scene from “The Lighthouse.” (AP photo)

While Fosburg didn’t get to meet any of the actors in the film — he was working on set three the entire time, while filming occurred on set two — he was glad for the unique experience.

Fosburg became involved with the project when he was invited to work on the film by his friend Dan Spinella of Artworks-Florida, who custom builds reproduction Fresnel lenses that Fosburg makes the parts for.

“The production company A24 found him when they couldn’t find a functioning lighthouse to film in. He insisted that they hire me for the mechanical pedestal the lens sits on; from there they had me build a couple other pieces,” Fosburg said. “It was definitely the first time I had ever worked on a movie project.”

One of the reasons for his invovlment is that he has a rare skill set as a professional lampist who specializes in “restoring, moving, cleaning, and interpretation of original classical Fresnel lighthouse lenses and their components,” he said.

“I am one of about five people in the country who specializes in this, one of the few formally authorized by the United States Coast Guard to work on government lighthouse lenses, and the only person making accurate reproduction components,” Fosburg said.

He spent months working on the project at his Negaunee Township machine shop, which is “specifically for restoring antique Fresnel lenses and the associated equipment.” Fosburg expanded his shop so he could heat the work area over the bitter Upper Peninsula winter, then spent over four months building the pedestal and a special large brass lamp for the film.

The pedestal he built housed an original clockworks the filmmakers had rented to make the Fresnel lens above rotate, but it needed to operate with a hidden modern electrical motor for the film, so Fosburg hid the motor and gears in the base of the pedestal to make it look as if the clockworks were driving it.

Of special note is that while building, Fosburg didn’t have access to the custom third-order Fresnel lens reproduction that the pedestal would support, but he built everything that would go beneath the lens: the pedestal, fan legs to hold up the lens, work cabinet, an electrified brass oil lamp, and “even original vintage stick matches,” he said.

“I thought the movie project would be like any other custom order, but it was much more difficult,” Fosburg said. “They wanted it to function properly and look original, but didn’t want to spend a bunch of money. I even ended up building a very special oil lamp and loaning it to them because they couldn’t afford it. I have that back in my possession, and I’ve heard rumors it is featured prominently in the film.”

After the long months of building, it was time to drive it all out to the production set in Halifax, Nova Scotia. Fosburg drove for three days by himself in a “U-Haul truck without cruise control across Canada,” he said.

Once he arrived, he had to finish the project on-site in Halifax, taking three days on the set to assemble everything.

After all of the hard work, Fosburg said he is “extremely excited to have my pieces in a movie.” And while he hadn’t yet seen the film at the time of his interview with The Mining Journal, he looks forward to seeing his props in action.

“My pedestal is shown at the middle of the second trailer, and rumor has it that Dafoe’s character spends a lot of time with my props,” Fosburg said. “I honestly won’t know until I get to see it. The production company recently contacted me to say my pieces worked perfect and looked amazing, so obviously, they are pleased.

A friend sent me a screenshot of the film credits at the Cannes film festival with my name on the big screen, so I know I made it into the film! I recently purchased an original movie poster and am having it professionally framed for my cabin. But what I really want is to meet Willem Dafoe and get his autograph!”

While the process came with many challenges, Fosburg said now — over a year and a half later — he’s “excited and happy” he was involved with all of the “positive reviews and hype,” and “wouldn’t mind doing another” project for a film.

“So far I can’t find a theater (nearby) that will be showing it, but perhaps that will change,” Fosburg said. “It was certainly a unique and challenging project! And the Oscar goes to…..”

For those who wish to learn more about Fosburg’s experience, he will cover the topic when he speaks at the Marquette Maritime Museum History on Tap event March 3 at the Ore Dock Brewing Co. in Marquette.

Cecilia Brown can be reached at 906-228-2500, ext. 248.