Willem Dafoe Discusses New Film ‘Tenzing’, His Outsider Perspective, and the Pressure of Conformity

A decade back, director Jennifer Peedom informed Willem Dafoe of her intention to film a story about Tenzing Norgay, the Sherpa who aided British Army officer John Hunt in achieving the first successful Everest summit in 1953. Dafoe, who narrated Peedom’s 2017 documentary Mountain, described the idea as sounding like a great adventure.

Today, Tenzing is real. Dafoe stars as Hunt, with Genden Phuntsok portraying Norgay and Tom Hiddleston as Sir Edmund Hillary, positioning the film as a true tentpole blockbuster. We talked with Dafoe about the movie, his formative years in 1970s New York, and why he continues to feel like an outsider.

NME: Willem, how did you connect with John Hunt?

Willem Dafoe: “John Hunt struck me as a fascinating figure. Though he appears as a military officer, he also embodies a subtle sense of being an outsider, despite representing the Empire. He was an improbable choice to lead the expedition, facing initial resistance because he lacked ties to the Everest climbing community.”

Was the set high‑pressure given the mountain shooting?

“It was intense. The filmmaking itself felt like an expedition. We were helicoptered in daily at high altitude, never sure when we could shoot and constantly monitoring the weather. Conditions were occasionally precarious, but we had excellent guides. I witnessed several avalanches—thankfully we were never in their path.”

How would you characterize Jennifer Peedom’s approach to the story? 

“She understands the Sherpa community deeply. A skilled director builds a world, and she has done exactly that, drawing on years in the Himalayas and her relationship with Tenzing’s family. Much of the film explores his background, which she deemed essential, and she aimed to avoid a typical macho mountaineer narrative.”

You noted John’s military background; you once thought about enlisting in the early 70s. What attracted you to that path?

“I sought a challenge. At the time I had no clear direction, though I was drawn to work that involved travel—an idea that now seems naive. It wasn’t the military itself that appealed to me; I wanted a test of my limits, aware that a larger world existed beyond my Midwestern, middle‑class upbringing, where conformity felt stifling and creativity was discouraged.”

Do you ever feel tension between your passion for avant‑garde work and starring in a mainstream film like Tenzing?

“Yes, that tension is constant—commerce versus experimentation. They clash, and sometimes the worthwhile side prevails, sometimes it doesn’t. People refer to ‘the movie business,’ but I see myself as a maker rather than a businessman. That may sound pretentious, yet I view it as a business only insofar as it sustains opportunities. Money represents value in most societies, so it tends to be protected. Many excellent independent films struggle financially despite low budgets, but once you invest in a project, you strive to reach an audience.”

NME began as a music publication…

“Indeed, I’m aware—it’s a legendary outlet, and you’re writing for it!”

… and you came of age in the ’70s punk scene. Which shows stood out for you in New York at that time?

“I frequented CBGB’s, catching acts like Richard Hell, Television, the Ramones, and James Chance and the Contortions—there were countless others. Many bands played short‑term gigs in clubs, embodying the downtown DIY spirit. Musicians were often novices honing their craft, theatre troupes lacked formal training, and filmmakers worked without schooling; the blend of inexperience created something special.

At that era, New York’s turmoil drove people to create community‑focused spaces where they could meet kindred spirits and pursue relationships. Renting a shared venue with friends made such ventures feasible. I value that my formative years in the city coincided with that vibrant period.”

You previously said you feel like an outsider, akin to John Hunt. Do you still sense that despite your success?

“I’ve been fortunate to pursue what I love, yet many worthwhile ideas get sidelined by shifting distribution models and technological change, while outright nonsense sometimes receives acclaim. That disconnect can leave one feeling peripheral. It’s a matter of temperament—what I consider nonsense varies—but I’m not out to make enemies.”

‘Tenzing’ hits theaters on October 9 and arrives on Apple TV for streaming October 16.

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