As I read through this captivating interview with the talented filmmaker, my mind couldn’t help but be drawn to the passion and dedication she exhibits for her craft. With each new project, it seems that she continues to push herself into uncharted territories, exploring the depths of human emotion while masterfully weaving together stories that resonate with audiences far and wide.
Natalie Erika James‘ first film as director, titled “Relic“, garnered praise at Sundance in January 2020, but later got overshadowed amidst the global pandemic upheaval, just like many other works. This horror movie, produced by the companies associated with the Russo brothers and Jake Gyllenhaal, employed the genre to convey an allegory about dementia and the agony that comes with watching our elderly relatives age. Despite being a low-budget co-production between Australia and America, “Relic” still managed to earn a few million dollars at the disappointing global box office of 2020. Ultimately, the film rightfully brought James to the attention of the studio system.
In March 2021, a Japanese-Australian filmmaker was brought on board to co-write and direct the television series “Apartment 7A,” starring Julia Garner, for Paramount+. This project had backing from production companies owned by John Krasinski (Sunday Night Productions) and Michael Bay (Platinum Dunes). Although the title suggested a familiar story to some film enthusiasts, the production team didn’t reveal right away that “Apartment 7A” was actually a prequel to the 1968 movie “Rosemary’s Baby.” As there are legal complications associated with the original film’s director, Roman Polanski, the filmmaker, James, had to carefully consider the potential drawbacks before ultimately deciding to take on the project.
One important point was ensuring a distinction between [Apartment 7A] and the creators of the original movie having no part in this project,” James explained to The Hollywood Reporter. “We had these discussions before rewriting the script, and we aimed to draw heavily from Ira Levin’s original book as our primary source. However, given the iconic status of the original film, it was challenging not to make comparisons.
James’ psychological thriller revolves around Terry Gionoffrio (played by Garner), an aspiring singer-dancer, who received secretive aid from Minnie and Roman Castevets before the Woodhouse family moved into apartment 7E. In the movie ‘Rosemary’s Baby’, Terry forms a bond with Rosemary Woodhouse (playing Mia Farrow) in the eerie laundry room of the Bramford building. Shortly afterward, Terry is found dead on the sidewalk, apparently having taken her own life, just moments after the Woodhouses had discovered her body.
As a gamer delving into the behind-the-scenes of “Rosemary’s Baby,” I used to believe that Apartment 7A featured a pivotal scene between Terry and Rosemary. However, upon closer inspection, I realized that this scene was actually Terry interacting with someone who resembled Rosemary, but their conversation never occurred due to the reshuffling of scenes during post-production. This decision was made because the happy-go-lucky Terry from Apartment 7A wouldn’t have been praising the Castevets so highly just before her demise, as portrayed in “Rosemary’s Baby.” Previously, I assumed that the scene in Apartment 7A’s laundry room was a subtle hint or foreshadowing of Terry and Rosemary’s encounter, but now I understand that the blonde woman was merely meant to resemble Rosemary, not be Rosemary herself.
James explains that he deliberately avoided depicting Rosemary’s face or any interaction, as it seemed overstepping a boundary, despite the fact that Minnie and Roman [Castevet] were reimagined. He acknowledges the discontinuity from the original due to Mrs. Gardenia’s presence. During editing, certain changes are necessary to effectively tell the story, and unfortunately, this included sacrificing that aspect.
In their latest chat with THR, James delves into the chilling melody that ties together her personal childhood apprehensions, as well as the films ‘Relic’, ‘Rosemary’s Baby’, and ‘Apartment 7A’.
Was the “Für Elise” scene in Relic intended as a subtle hint or setup for a potential prequel to Rosemary’s Baby at some point in the future?
(Laughs.) That’s quite amusing! It’s an intriguing melody that has lingered with me since my childhood days. When I was five, in Prep school, they often played classical music, and those tunes would trigger intense nightmares about losing my mother. That’s why I selected it for ‘Relic’. Indeed, you’re correct that it carries a haunting quality in ‘Rosemary’s Baby’, too. I recall watching this film quite early during my teenage years, which explains the connection. (Writer’s Note: Beethoven’s “Für Elise” subtly appears throughout ‘Rosemary’s Baby’, with a neighbor increasingly mastering its notes.)
Absolutely, I noticed you incorporating it in Apartment 7A as well. At this pace, perhaps you might enjoy consistently embedding that musical snippet into all your work. It could become a unique signature of yours, similar to an Easter egg hunt.
Absolutely! In six weeks, I’ve got another one lined up. So, I’m more than happy to accept your challenge. I’ll make sure to give you the credit for it.
In considering your involvement with Rosemary’s Baby, was there a moment of contemplation due to the significant creative potential it offers, while also weighing the presence of Roman Polanski as a factor in the decision-making process?
Indeed, I concur. Originally, I had reservations about remakes or prequels, especially for established IPs like ours. However, when presented with the idea, I couldn’t immediately envision it myself. Yet, during our early discussions, we were mindful of keeping a clear distinction between this new project and the original creators. Before rewriting the script, we made sure to reference Ira Levin’s original novel extensively as a guide. However, given the iconic status of the original film, it’s hard not to draw comparisons.
When embarking on this project, what resonated with me most was the ordeal that Terry goes through, and I aimed to narrate her story using the horror genre as a means to depict her struggle. Her tale is profoundly transformative, marked by a powerful rediscovery of self, and despite her predicament at the end, there’s an undeniable sense of victory. These were the ideas that guided me when I decided to undertake this project.
Initially, those well-versed in Rosemary’s Baby might have suspected a connection with Apartment 7A due to its title. However, it appeared as though the producers intended to keep this prequel link discreet. Was this truly an attempt at secrecy, or was it merely a strategic decision to reveal it later in marketing? (Note: In THR’s coverage of James and Garner’s involvement, neither story hinted at any connection to Rosemary’s Baby.)
As a gamer, I’ve got to admit, when the news dropped, there wasn’t a clear link between it at that point, which might suggest they were still pondering over the direct connection. But honestly, I can’t definitively say one way or another. It’s possible they were planning a surprise reveal, but while we were in production, there were whispers and speculation swirling around. So, my guess is that they decided to keep things under wraps until they could solidify their plans.
As a gaming enthusiast diving into the world of role-playing, I can only imagine the pressure of following up an iconic performance like Ruth Gordon’s Oscar-winning role in 1968. So, when did the two-time Academy Award winner, Dianne Wiest, come into play?
She came up very early. Given that she has such a wonderful history of portraying these incredibly amazing, larger-than-life characters, but with such grounded realism as well, she seemed like a really exciting fit. We were really conscious of trying to create a Minnie performance that stood apart from Ruth Gordon’s very iconic performance. So we spent a lot of time looking for the right kind of voice or the right reference for that voice. We eventually landed on Mae Questel, who is most known for voicing Betty Boop. So that felt like an interesting mix of sweet, but unhinged, as well. And apart from the voice, we also took a different approach in terms of wardrobe just to differentiate the two.
As a die-hard fan, I was wondering if the studio still had any original blueprints or materials from “Rosemary’s Baby” stored away. Or perhaps you painstakingly printed out each frame of the film and worked meticulously based on those?
It would have been fantastic to possess some authentic props from the original production. The care taken to replicate the Bramford sets and the Castevets’ apartment furnishings was remarkable. All we had as a keepsake was a frame from the movie itself, which served as our starting point. We enhanced this image and then incorporated it into our film as an establishing shot. Since we filmed in London, depicting 1960s New York presented a challenge, particularly in terms of creating sufficient establishing shots and building the world around us.
Did you still send a crew to NYC to shoot the exteriors of the Dakota Building?
We definitely did shoot there, but that was more for plates that were used in conjunction with VFX and the London location where we shot. You’re just going there to get stills, essentially, and there’s certainly no drone shots looking down onto the Dakota.
In your narrative, there’s a scene in a laundry room that evokes memories of the one shared by Terry and Rosemary from Rosemary’s Baby. However, it should be noted that Mrs. Gardenia is residing in apartment 7E at that specific moment in your story. (Later on, Rosemary and Guy Woodhouse would occupy this apartment following her demise.) So, I’m curious about how near you came to illustrating Terry’s viewpoint during their initial encounter with Rosemary?
During our production, we were mindful of how similar our work was to the initial film, and made deliberate choices about maintaining settings like the Bramford and preserving certain design aspects consistently. However, I preferred not to reveal Rosemary’s face or depict any interactions. It seemed an unusual move, despite the fact that Minnie and Roman were reimagined. Regrettably, keeping Mrs. Gardenia in the story was one of the changes we had to make during editing, as it often happens, for the sake of telling the best possible tale.
Of course, I stepped inside Apartment 7A, anticipating that Terry’s demise would be shown, given the immediate aftermath of her death in Rosemary’s Baby. However, considering the malevolent actions of the Castevets’ coven as portrayed in both movies, I unexpectedly found myself hoping for Terry’s death. It’s a strange kind of victory because it’s on her own terms and against the coven’s oppressive forces.
Indeed, it’s rather dark, isn’t it? I was referring to her journey towards self-recovery earlier. She’s a character who has experienced the cruelest violations of her physical autonomy across multiple dimensions. Despite the story’s ultimately sad ending, you find yourself cheering for her because she manages to regain control within the limited realms available to her.
The first occasion I laid eyes on Julia Garner, I thought she should portray Madonna in a biopic. Years down the line, Madonna ended up casting her for her biopic, but by January 2023, it seemed to have slowed down until Madonna announced in July 2024 that she was rewriting it. Now, after witnessing Julia’s performances as a singer and dancer in Apartment 7A, are you more excited to see her embody Madonna?
Wow, absolutely! It’s fascinating that she made such an impact on you from the start. I’d be eager to see Julia in any production, but the tales of her training alongside Madonna have me really excited for that potential movie.
As a gamer, when Rosemary got drugged by that chocolate mousse, it felt like my character was transported to a boat in a dream-like state. Some part of her mind must’ve conjured up that location. Similarly, Terry seems to have this elaborate musical theater sequence in her dreams, possibly because the stage has always been intertwined with hers. Do I have your drift?
Absolutely, I was referring to the Broadway shows or movies she had watched when she was younger, and it’s quite possible she dreamt of being a leading actress in them too. That’s exactly where our line of thought was headed.
Looking back many decades from now, would I probably remember those action-packed shooting days first, reminiscing about them with a nostalgic smile? Absolutely!
Absolutely, your point resonates with me. The choreographed scenes were actually quite novel for me, as I hadn’t previously participated in a large-scale dance routine. The skill of the dancers, coupled with the intricate production design, was nothing short of astonishing and exhilarating. It evoked a sense of familiarity, reminiscent of performing stunts on Relic, where I could really immerse myself in the artistic process. There’s a certain parallel between stunt work and dance sequences, particularly in terms of the objectives and the way the camera captures the action. Consequently, every second of it was a delight.
By the way, you said earlier that you were going to film something. Could you tell us a bit more about it?
Absolutely, I’m working on another chilling psychological horror titled “Saccharine“. The story revolves around a woman who resorts to consuming human ashes for weight loss purposes. However, this act haunts her by the apparition of the deceased person she’s ingested. There’s an element of absurdity in the plot, but I can’t wait to bring it to life here in Melbourne.
Well, I look forward to hearing “Für Elise” in it.
Yes! (Laughs.)
***
Apartment 7A is now streaming on Paramount+.
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2024-09-29 00:55