Robert Eggers

Fire accounts for four of his ten planets, air three, water three and not one of them earth, and five of the ten sit in cardinal signs with a single fixed one. The element that would hold a thing to a fixed shape is missing from the chart entirely, which in the record of a director the record calls a stickler for period detail is the first thing worth noticing. The record names Eggers for The Witch and The Lighthouse.

The Sun sits at fifteen degrees of Cancer with Mercury at thirteen and Mars on the sixth degree, three planets in the sign that looks after what it belongs to and defends it sooner than the threat warrants. Jupiter, Uranus and Neptune spread right across Sagittarius and all three were retrograde. His Moon sits on the sixth degree of Gemini at noon and this chart cannot rule out Taurus. For a director the record calls a stickler for period detail, a Cancer group is the structure to start from.

Mars sits at an awkward angle to Uranus one hundredth of a degree from exact, which is as close as this table can measure, and it reads as action without warning: abrupt breaks, and a temper that arrives with no build up at all. Saturn sits sixty degrees from Neptune at just over a third of a degree, which is imagination made durable and is the contact that accounts for the period detail far better than any earth would have. Venus sits sixty degrees from that same Saturn at just under half. In a director, imagination held to a structure is the contact that produces period detail rather than period dressing.

Jupiter stood again on its Sagittarius birth degree on 16 November 2018, at thirty five, in reverse as it was at his birth, and two laps precede it. Sagittarius measures a thing by how far it got from where it started, which for a record naming two films and a working method is a measurable question. No earth at all, with imagination tied to limit at a third of a degree, is what to take from this chart: the exactness is not solidity, it is discipline applied to something imagined.