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13 Devilish Facts About Rosemary’s Baby

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In the late 1960s, a B-movie producer, a filmmaker untested in America, and a TV star untested on the big screen got together to make a horror movie. They produced a classic.

Rosemary’s Baby is a kind of godmother to all of the Satan-themed horror films that followed it, from The Exorcist to The Omen to The Exorcism of Emily Rose. It’s scary yet elegant, eerie yet oddly romantic, horrifying yet beautiful in its design. It’s the product of a meticulous director who went over his shooting schedule, a young star who persevered even in the midst of a divorce, and a cast and crew who may have ultimately suffered a curse for their part in it.

As the film nears its 50th anniversary, here are 13 facts about Rosemary’s Baby.

1. WILLIAM CASTLE ORIGINALLY WANTED TO DIRECT IT.

Even before Ira Levin’s novel hit bookstores, Rosemary’s Baby became a hot property in Hollywood. The galleys of the novel caught the eye of director/producer William Castle, best known for B-movie horror films like The Tingler and House On Haunted Hill. Castle, eager to make a prestigious film, snapped up the rights to the book, and sought a deal with Paramount Pictures to get the film made. Producer Robert Evans also saw potential in the novel and agreed to adapt it for the screen, but insisted that Castle only work on the film as a producer. Castle, who’d hoped to direct the film himself, reluctantly agreed.

“It was too good for Bill Castle,” Evans later said

Evans ultimately decided on Roman Polanski, who made his American debut with the film, to direct Rosemary’s Baby.

2. ROMAN POLANSKI MADE ONE VERY SIGNIFICANT STORYTELLING DECISION.

Roman Polanski and Sharon State attend the premiere of 'Rosemary's Baby.'
William Milsom/Evening Standard/Getty Images

When Evans offered him the film, Polanski was immediately engaged by Levin’s novel, and decided to write the screenplay himself. He had little difficultly, but as an agnostic, there was one particular aspect he wanted to remain intact onscreen: ambiguity. He set out to tell a story where, in theory, you could perceive everything that happened to Rosemary as something she was imagining.

“Being an agnostic, however, I no more believed in Satan as evil incarnate than I believed in a personal god; the whole idea conflicted with my rational view of the world,” Polanski later said. “For credibility's sake, I decided that there would have to be a loophole: the possibility that Rosemary's supernatural experiences were figments of her imagination. The entire story, as seen through her eyes, could have been a chain of only superficially sinister coincidences, a product of her feverish fancies ... That is why a thread of deliberate ambiguity runs throughout the film.”

3. IRA LEVIN MADE DRAWINGS OF THE BRAMFORD APARTMENTS.

Prior to shooting Rosemary’s Baby, Polanski gathered the cast for rehearsals on soundstages, complete with taped-off layouts of each apartment (the interiors were all shot on constructed sets) to give the actors an idea of how their movements would work within the eventual sets. Helping that process along was Levin himself, who provided detailed layouts of the apartments.

4. POLANSKI MADE SKETCHES TO CHOOSE THE SUPPORTING CAST.

Ruth Gordon in 'Rosemary's Baby.'
Paramount Home Video

When it came time to choose the supporting cast, Polanski did something a little unorthodox: He drew them. Feeling that each resident of the Bramford needed a very particular look, he felt that it would actually be easier if he simply showed those looks to the Paramount casting director. So, he made sketches of each Bramford resident and turned them over to the studios. That’s how actors like Ruth Gordon and Sidney Blackmer made their way into the film.

5. ROBERT REDFORD WAS THE FIRST CHOICE FOR GUY WOODHOUSE. 

In casting Rosemary’s Baby, Evans and Polanski didn’t always agree from the start, so several different incarnations of the cast were possible. They did, however, agree that Robert Redford would be perfect for the role of Guy Woodhouse, Rosemary’s ambitious actor husband. Unfortunately, Paramount and Redford were locked in a contractual dispute at the time, so he wasn’t available. So the studio went searching, and other choices included Robert Wagner, Richard Chamberlain, James Fox, Laurence Harvey, and Jack Nicholson (who actually tested for the role). Ultimately, Polanski decided on John Cassavetes, a talented filmmaker he was already familiar with.

6. MIA FARROW WAS NOT POLANSKI’S FIRST CHOICE FOR ROSEMARY.

Mia Farrow on the set of 'Rosemary's Baby.'
Harry Benson/Express/Hulton Archive/Getty Images

For the role of Rosemary Woodhouse, Polanski set out to find an “All-American” actress. His choice was Tuesday Weld, then known for her work in films like The Cincinnati Kid. Evans and Castle had a different idea: Mia Farrow, then best-known for the TV series Peyton Place. After auditioning a few actresses, Polanski ended up agreeing that Farrow was right for the role.

“Mia was a little left-of-center. That’s the reason we wanted her,” Evans said. “She wasn’t just another pretty face.

“She had another dimension. And what she didn’t have, Roman got out of her.”

7. POLANSKI CLASHED WITH THE STUDIO DURING PRODUCTION.

Rosemary’s Baby was Polanski’s first American film, and his attention to detail ultimately created some problems with Paramount. According to Evans, the director fell behind his shooting schedule very quickly, to the point that Castle was calling and warning him that problems were ahead. Evans and Castle, according to Polanski, stood by their director, and it also didn’t hurt that the footage coming back from the film was impressive. In Polanski’s recollection, it took a fellow director—the great Otto Preminger (Laura, Anatomy of a Murder)—to convince him he had nothing to worry about. In a chance meeting on the Paramount lot, Polanski explained his schedule problems to the legend. Preminger asked him about the “rushes,” the raw footage screened for studio executives. When Polanski explained that Paramount seemed to love his footage, Preminger put him at ease.

“‘So what do you care?’ he says,” Polanski recalled. “‘They never fired anyone because of schedule, because of lagging behind, but if they don’t like the rushes, you’re out very soon.’ So, that was the case. They really liked the material very much.”

8. POLANSKI AND JOHN CASSAVETES CLASHED DURING PRODUCTION, TOO. 

John Cassavetes and Mia Farrow in 'Rosemary's Baby.'
Harry Benson/Express/Getty Images

John Cassavetes is still remembered as a titan of independent film, known for his freewheeling, improvisational productions like A Woman Under the Influence. Polanski is a different kind of director, known for his precision. Though Cassavetes was only working as an actor on Rosemary’s Baby, their respective filmmaking styles still clashed. According to Farrow, Cassavetes longed to improvise and let the moment carry him through the scene, while Polanski would be annoyed if an actor lifted a glass mere inches from where he imagined it to be. Though Polanski and Cassavetes knew each other, and apparently liked each other, prior to filming, their working relationship became a bit strained.

“John Cassavetes was not my best experience, I must say,” Polanski recalled.

9. FARROW REALLY WALKED OUT INTO NEW YORK TRAFFIC.

According to Farrow, Polanski’s directing style often involved him acting out the scenes himself to show the actors what he wanted, and this apparently had the effect of convincing Farrow to do a few outrageous things. For example, she ate raw liver on camera through several takes, even though she was a strict vegetarian. The most extreme instance of this, though, came during the sequence when Rosemary is attempting to flee the Bramford and walks out into traffic in an effort to quickly cross the street. This was not a carefully orchestrated sequence in which streets were blocked off and stunt drivers were employed. According to Farrow, she really did just simply walk out into a New York street and hoped the oncoming cars would stop. This was Polanski’s idea, and he assured Farrow that “Nobody will hit a pregnant woman.” He was right, and the scene was shot several times, with one caveat: Polanski himself had to operate the camera, because no one else dared to.

10. FRANK SINATRA FILED FOR DIVORCE FROM FARROW DURING PRODUCTION.

The wedding of Frank Sinatra and Mia Farrow.
Keystone/Getty Images

At the time of Rosemary’s Baby’s production, Farrow was famous for two things: starring in Peyton Place and being married to legendary singer Frank Sinatra. When Farrow got the script for Rosemary’s Baby, she asked Sinatra to read it, and after he finished he turned to her and said “I can’t see you in it.” Farrow agreed to do the film anyway, but as Polanski’s shooting schedule stretched out it began to conflict with a planned role in Sinatra’s own film, The Detective. Farrow hoped she could make the schedules work and do both films, flying coast-to-coast in the process, but ultimately Rosemary won out, and Sinatra issued a demand that she choose between the movie or her husband. When she decided to finish Rosemary’s Baby, he sent his lawyer to the set to deliver divorce papers. Farrow signed them in “a blur of tears,” then continued shooting.

The incident created such tension that Sinatra and Evans didn’t speak for several years, to the point that Evans would call restaurants and ask if Sinatra was dining there before he decided to go. According to Farrow, she and Sinatra remained friends until his death in 1998.

11. WILLIAM CASTLE THOUGHT THE FILM WAS CURSED.

According to Farrow, actor Sidney Blackmer (who played coven leader Roman Castevet) once said on set “No good will come of all this ‘Hail Satan’ business,” and apparently he wasn’t the only one who thought so. William Castle later became convinced the film was cursed. Shortly after production he suffered gallstones to such a severe extent that he required surgery. As he recovered from that illness, Rosemary’s Baby composer Krzysztof Komeda suffered an accidental fall that led to a coma and, eventually, his death. Then, in the summer of 1969, actress Sharon Tate—Polanski’s wife—was infamously murdered by the Manson Family. For Castle, it all added up.

"The story of Rosemary's Baby was happening in real life. Witches, all of them, were casting their spell, and I was becoming one of the principal players,” he later recalled.

12. CASTLE MADE A CAMEO.

Castle initially wanted to direct Rosemary’s Baby himself, and had to settle for a producer’s role instead. He did also get to act a little in the film. When Rosemary goes to the phone booth to call Dr. Hill’s office, a man with a cigar comes up and waits outside. Because the paranoia level in the film is so intense at this point, the viewer initially wonders if the man is part of the conspiracy against Rosemary. Ultimately, he’s a man just waiting to use the phone. The man is Castle.

13. THERE ARE TWO DIFFERENT SEQUELS.

Rosemary’s Baby was an instant hit, and the Satanism woven into its plot ultimately started a craze that led to other hits like The Omen and The Exorcist. So, naturally, a sequel was in the cards. In 1976 a made-for-TV movie titled Look What’s Happened to Rosemary’s Baby aired on ABC during the Halloween season. It stars Patty Duke as Rosemary, was directed by Rosemary’s Baby co-editor Sam O’Steen, and even features the return of Ruth Gordon as Minnie Castevet.

In 1997, Levin himself produced a sequel, a novel titled Son of Rosemary. The film was also remade as an NBC miniseries in 2014, starring Zoe Saldana as Rosemary.

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20 Things You Might Not Know About Mr. Show
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You never need an excuse to look back at Mr. Show with Bob and David, but given that today is co-creator Bob Odenkirk's 55th birthday, now seems to be as good a time as any.

1. BOB ODENKIRK AND DAVID CROSS’S FIRST MEETING DID NOT GO VERY WELL.

Following four years of writing on Saturday Night Live, Odenkirk was in Los Angeles in 1992 as a writer for the Chris Elliott Fox cult classic Get a Life. David Cross was a comedian in L.A. after performing for years in Boston. One boring afternoon, Cross asked friend and fellow stand-up Janeane Garofalo if she knew anybody that played basketball. The two went to Odenkirk’s house, and Garofalo introduced David to Bob and then asked if he wanted to play basketball. He said no.

2. ODENKIRK AND CROSS FIRST WORKED TOGETHER ON THE BEN STILLER SHOW.

Despite their inauspicious beginning, the two ended up having numerous fruitful collaborations, starting with their work on The Ben Stiller Show. Odenkirk was a writer/performer on the short-lived but Emmy award-winning sketch show with Garofalo, Stiller, and Andy Dick. Cross was brought in in the middle of the show’s 13-episode run as a writer.

3. THE CO-STARS FIRST PERFORMED ON STAGE TOGETHER AS "THE THREE GOOFBALLZ."

Odenkirk and Cross performed sketch comedy together at the Diamond Club in Los Angeles, with a third improviser that, the joke went, would either be deceased or out elsewhere getting high.

4. "THE THREE GOOFBALLZ' WAS ALMOST THE TITLE OF MR. SHOW

Odenkirk also pitched the title Grand National Championships, but David Cross was never a fan of it.

5. JACK BLACK, SARAH SILVERMAN, AND OTHER FUTURE STARS APPEARED ON THE SHOW BEFORE THEY WERE FAMOUS.

Black was in four episodes of Mr. Show, starring in the classic Jesus Christ Superstar parody “Jeepers Creepers.” Silverman was a performer in 10 episodes. Mary Lynn Rajskub, best known as Chloe on 24, was a featured actress in the first two years. Tom Kenny, the voice of SpongeBob SquarePants, was a series regular for a majority of the run. Scott Adsit, a.k.a. 30 Rock’s Pete Hornberger, was in six episodes.

6. PATTON OSWALT WARMED UP THE MR. SHOW CROWD.

In addition to performing stand-up before tapings and keeping the studio audience interested in between scenes, Oswalt played Famous Mortimer in the episode “Operation: Hell on Earth” (but was credited as “Patton Oswald.”)

7. HOMELESS PEOPLE WERE NOT KIND TO THE ORIGINAL SETS.

Because the pilot episode was shot at a “down and dirty,” small Central Hollywood club, the sets had to be placed outside, where homeless people defecated on them.

8. YOU MIGHT ALSO RECOGNIZE SOME OF THE WRITING STAFF.

Dino Stamatopoulos was already on the original writing staff of Late Night with Conan O’Brien and had written for David Letterman before writing for Cross and Odenkirk. He would later create three shows and play Starburns on Community. Writer/performer Scott Aukerman co-created and executive produces Between Two Ferns, and created and stars on Comedy Bang! Bang!. Writer/performer Paul F. Tompkins hosted VH-1’s Best Week Ever! and currently hosts the satirical debate show No, You Shut Up!, where he moderates discussions by a panel full of puppets. Bob Odenkirk’s brother Bill has written ten episodes of The Simpsons.

9. THE DIRECTORS OF LITTLE MISS SUNSHINE LEARNED HOW TO DIRECT COMEDY FROM MR. SHOW.

Valerie Faris and Jonathan Dayton were known for directing music videos like The Smashing Pumpkins’ “Tonight, Tonight” and Jane’s Addiction’s “Been Caught Stealing,” and decided to direct two Mr. Show episodes to expand their filming vocabulary. The husband and wife team were behind the camera for the classic sketch “Monk Academy.”

10. ONE SKETCH WAS INFLUENCED BY LOUIS C.K.

One of the first sketches in the show’s history involved Odenkirk playing a priest forced to do rather unpleasant and un-priestly things. The idea sprang from a conversation David Cross had with fellow young Boston comic Louis C.K., where Louis talked about annoying people that try to claim a prize on a bet that their friends never agreed to in the first place.

11. HBO ONLY CENSORED THE SHOW ONCE.

Throughout four years and 30 episodes, the lone note Odenkirk and Cross got from HBO was to get rid of a line where one character tells another to have sex with a baby. Odenkirk admitted that being told to edit it out “wasn’t too much to ask.”

12. THEY ONLY RECEIVED ONE VIEWER COMPLAINT.

The only angry letter that Odenkirk and Cross were ever made aware of was from a military veteran who was offended by the sketch in “Who Let You In?” where Cross’s performance artist character attempts to defecate on the American flag. The two stars actually called the viewer and discovered that he didn’t watch the entire sketch, and therefore never realized that Cross’ character was never able to actually go through with it.

13. ONE SKETCH WAS CUT FROM THE SHOW SIX TIMES AND NEVER MADE IT TO AIR.

A sketch called “Party Car,” a joke on old, low-quality shows filled with '70s celebrities was cut from half a dozen scripts and never filmed. It would have featured Nipsey Russell, Zsa Zsa Gabor, (or reasonable facsimiles), and a baby in a balloon-filled car.

14. BOB ODENKIRK GOT IN TROUBLE FOR USING A PICTURE OF HIS DEAD GRANDFATHER.

Because the sketch “Old Man In House” needed a photo of an old man, and the elderly gentleman was not the butt of the joke, Odenkirk thought it would be fine. Instead, some Odenkirks were “very upset.”

15. CROSS WAS PAYING OFF HIS STUDENT LOAN DEBTS THROUGHOUT MOST OF THE SERIES.

David Cross and Amber Tamblyn
Frazer Harrison/Getty Images

Despite executive producing and co-creating a series on television, Cross had trouble paying off his student loan debts from his time at Emerson College. Figuring that the person calling from the bill collection agency wouldn’t believe that he couldn’t pay if he knew his job status, Cross pretended that he worked at Mr. Show as a messenger.

16. ONE PERSON WAS GIVEN A "SPECIAL THANKS" IN THE CLOSING CREDITS OF EVERY EPISODE AS A JOKE.

As Cross once explained, Rick Dees was thanked in the credits of the pilot episode, even though he was “certainly nobody we would ever thank, or be in a position to thank.” Some personalities that were thanked for no discernable reason were Greg Maddux, Rodion Romanovich Raskolnikov, Gabe Kaplan, and Howard Zinn.

17. HBO CHANGED THE TIME SLOT FOR ITS FINAL SEASON, AND IT WAS "DEMORALIZING."

After airing Fridays at midnight for the first three seasons, HBO moved the show to Mondays at the same time, confusing some loyal viewers, and the ratings decreased as a result. Bob Odenkirk told a reporter that, after 30 episodes, HBO was still treating the cast and crew as “second-class citizens,” and that they were “demoralized” by the slot shift.

18. BOB AND DAVID TOLD A STUDIO AUDIENCE THAT THEY HAD JUST WITNESSED THE FINAL EPISODE, AND THEY WEREN'T JOKING.

“Patriotism, Pepper, and Professionalism,” the 40th and final episode of Mr. Show, was taped on November 21, 1998. After the final sketch was filmed, Odenkirk and Cross made their announcement, although the show’s cancellation wasn’t made official for another few months.

19. THERE WAS A MR. SHOW MOVIE THAT WENT STRAIGHT TO VIDEO.

Run Ronnie Run focused on David Cross’s redneck criminal character Ronnie Dobbs. It was filmed in 2001, but never made it to theaters. Bob Odenkirk admitted that the movie wasn’t perfect, but he blamed the poor quality on director Troy Miller, for not allowing himself and Cross to edit the movie.

20. THE TWO HAVE REUNITED A FEW OTHER TIMES.

David Cross and Bob Odenkirk star in 'W/ Bob and David'
Saeed Adyani/Netflix

In 2002, Bob, David, and Mr. Show writer/performers Brian Posehn, John Ennis, and Stephanie Courtney (Flo in the Progressive commercials) toured the country to perform some of the show’s sketches and material from their unproduced screenplay Mr. Show: Hooray For America! The next year, Odenkirk guest starred as Dr. Phil Gunty on a season one episode of Arrested Development, alongside Cross’ character Tobias Fünke.

In 2012, Odenkirk, Cross, and Posehn went on a six-city tour to promote their book filled with more unproduced material. Bob and David appeared briefly together the next year on an episode of Aukerman’s Comedy Bang! Bang! In 2015, 20 years after Mr. Show's debut, Netflix premiered W/ Bob and David, a five-episode sketch comedy show created by and starring the duo.

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30 Memorable Quotes from Carrie Fisher
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Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.

ON GROWING UP IN HOLLYWOOD

“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”

ON AGING

“As you get older, the pickings get slimmer, but the people don't.”

ON INSTANT GRATIFICATION

“Instant gratification takes too long.”

ON THE LEGACY OF STAR WARS

“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”

ON THE FLEETING NATURE OF SUCCESS

“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”

ON DEALING WITH MENTAL ILLNESS

“I'm very sane about how crazy I am.”

ON RESENTMENT

“Resentment is like drinking poison and waiting for the other person to die."

ON LOVE

“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”

ON EMOTIONS

“The only thing worse than being hurt is everyone knowing that you're hurt.”

ON RELATIONSHIPS

“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”

ON HOLLYWOOD

“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”

ON FEAR

“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”

ON LIFE

“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”

ON DEATH

“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

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