"Wasson bellydives into one of the deepest pools in Hollywood history. Along the way, he tells revealing stories about Jack Nicholson, Roman Polanski, and legendary producer Robert Evans—as well as dark secrets behind the making of Academy Award winner Chinatown."

"I was twenty years old when I first saw it. It terrified me then, and still does.
 The preacher, played by Robert Mitchum, is the most frightening
 psychopath I’ve ever seen depicted. This is the only film directed by Charles Laughton, and its haunting, over-the-top storytelling is reminiscent of Laughton’s own character portrayals. The poetic, expressionistic images are by Stanley Cortez, a true American master who I fortunately came to know many years before his death. Stanley photographed, among others, The Magnificent Ambersons and The Three Faces of Eve, in which his lighting is equally unique. The disturbing orchestral score is by Walter Schumann, who also wrote the Dragnet theme and whose music underlines and drives the horror the way Bernard Herrmann’s does in Psycho. This is one of James Agee’s rare screenplays—another was The African Queen—and it captures America in the Depression as
 well as did his book, Let Us Now Praise Famous Men, with photographs by Walker Evans. The film’s story is an American equivalent of the Brothers Grimm."

"“What have you done to its eyes?” How does a movie become a classic? Is it timing? Was it the dream-team collaboration of Paramount, Polanski, and Robert Evans? Was it producer William Castle, the mastermind who purchased the Ira Levin novel with plans to make it himself? Was it Mia Farrow, who had been painted with the brush of scandal after marrying Frank Sinatra? Did the devil himself have a hand in it? Whatever the reasons, my fascination with this film has never waned. There’s an enjoyment in watching Rosemary’s Baby that is similar to another gothic horror film, The Shining. It’s like listening to an album you love. Seeing the repetition of familiar scenes and faces. Shaking your head at Rosemary’s innocence as she tries to convince people that her neighbors might just be in a cult with Satan! Another highlight is the production design and cinematography. Not a frame is out of place, and it’s beautiful to look at. It captures a kind of sixties avant-garde vibe. I get the feeling Warhol would have liked this film. There are all sorts of great exterior location shots of New York, and the Dakota building on Seventy-Second Street adds the right spookiness. Does anyone remember or talk about what an amazing actress Mia Farrow is? Watch Broadway Danny Rose, and then watch Rosemary’s Baby. There’s some range there! Farrow as Rosemary has a beautiful, waifish glamour, enhanced by short dresses that make her seem more fragile and doll-like. John Cassavetes playing the “actor.” I love that he’s an “actor.” I love that his name is Guy! He makes a great prince of darkness. With his dark eyes and leering smile, well, you know he’s guilty of something the minute you see him. Then we have Ruth Gordon, who almost steals the film. Her caftan-wearing, mousse-making devil worshipper is the perfect amount of comic relief. I also love Charles Grodin as the fink doctor who squeals on Rosemary. Ralph Bellamy: terrifying! Every woman’s nightmare! Maybe that’s why I love it: Rosemary’s Baby plays on every woman’s fears. The man I married is different. Oh wait—maybe he’s sold his soul to the devil!"