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 In a film that is filled to the brim with frightening imagery, the scariest element is arguably Katherine’s horrific, dream sequences. Comprised of split-second cuts, ambient noises and startling figures, these brief scenes are an unforgiving attack on the senses. Stiles is very excited to be associated with this unforgettable aspect of the film, “I was so glad he added the dream sequences! Nightmare sequences can be tricky because they can get too out there. But I think John [Moore] is really good at using images that are in our collective conscious, things that really recur in dreams.” Staying true to form, Stiles is quick to comment on their psychological value, “It’s also a window into what my character is seeing. She says when she closes her eyes, she sees grotesque scenes. It allows you to see what she’s seeing. In terms of her progression, I wanted to show her in the beginning when she’s sane and optimistic, has a loving relationship with her husband and always wants to be a Mother. Later when things don’t go to plan, it’s that much more heartbreaking.” The stunning young actress confesses warily that she experienced similar visions during the production, “I got to Prague and had horrible nightmares everyday when we were shooting. I could hardly sleep. My apartment was right near one of the oldest cemeteries in the world. I was scared at every corner. My preparation was totally inadvertent and unintentional,” she adds with a quiet laugh. “In retrospect, I was definitely just psyching myself out.” Stiles’ onset scares follow in the grand tradition of classic Horror films like the original The Omen and The Exorcist, productions that were plagued with mysterious behind-the-scenes happenings. “Mia [Farrow] told me all these stories about Rosemary’s Baby! I was like, ‘Be quiet! I don’t want to hear it!’” While not quite on the same dire level as the deaths connected with The Poltergeist films, The Omen still had a couple of bizarre, albeit slightly pedestrian, occurrences to its name, “There was footage that was destroyed in the laboratory or came back with smudges just like what happens in the film.” Stiles admits that perhaps she was susceptible to making a big deal out of these kinds of things, “I was open to it, I was ready and I took everything very seriously. People like Liev dismissed it as coincidence.” However, Stiles recounts one story that holds enough significance to spook even the most strong-willed of nonbelievers. “The first scene that I was shooting is the scene when Liev hands me the child, Damien. We were shooting next to a Church and of course we couldn’t shoot the scene because the Church bells were ringing incessantly, which is explainable, except that they kept going and when they started was six minutes after six o’clock! I’m not kidding! Call it a coincidence, I don’t know, but I was aware of those things!” Returning to the subject of the Rosemary’s Baby star, Mia Farrow, Stiles informs ... |
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