How an Anne Rice novel became a Hollywood saga involving Aaliyah and the guy from Korn. A look back at 'Queen of the Damned,' as told by the people who made it. tarantallegra reports
Aaliyah and director Michael Rymer on the set of Queen of the Damned. Photo: ©Warner Bros/Courtesy Everett Collection Queen of the Damned is a movie about a vampire who awakens from a protracted slumber and becomes a rock star. “It sounds like a bad Saturday Night Live skit,” says Richard Gibbs, who wrote the music for the film alongside Korn front man Jonathan Davis. To some, that’s exactly how the movie plays.
Lorenzo di Bonaventura, former Warner Bros. executive: We did Interview With the Vampire, and at that point I became aware that we also had control of The Vampire Lestat. I had met Aaliyah. She came into my office for a general meeting that our music guys had set up. After, I called [producer] Joel Silver and I said, “We should do Romeo Must Die with Aaliyah.” She obviously sparked in that movie, and so we were looking to put another one together with her.
Saralegui: I’d read The Vampire Lestat, and I ended up coming up with a proposal that combined it with Queen of the Damned. It was always a fuzzy possibility, discussed by everyone at virtually every stage. Abbott: Anne Rice wasn’t involved at all with the writing process. I was very aware that I was combining two of her books and turning them into something that they weren’t. I did feel trepidatious about that on a personal level, but adaptation often demands that. Michael Petroni did a beautiful job bringing it home. He and I share credit.
Gibbs: John and I show up for this meeting on the Warner Bros. lot to pitch our idea. We said, “We don’t want to just write the songs. We want to write the score.” The screenplay called for five songs. We wanted the themes from the songs to be integrated within the score. Saralegui: Aaliyah was proposed by the studio as a big name to hang the movie on, given that the movie wasn’t going to be that expensive.
Abbott: When I came onboard, I think it was pretty common knowledge that this was going to be a whole movie that was gonna stand separately from the first one. There was talk about Wes Bentley as Lestat. Stuart Townsend and Aaliyah. Photo: Warner Bros. Gibbs: He was supposed to be Aragorn in Lord of the Rings, but there was some fallout.
Saralegui: With Jesse, we met with a million people — more than we did for Lestat. Tara Reid, Jordana Brewster, Shannyn Sossamon. The one that stands out, that we really wanted, the studio said she wasn’t good-looking enough: Michelle Williams. The Haunting Production on Queen of the Damned began in October 2000, lasting almost five months. Most of the shoot took place in Australia with some scenes filmed in Los Angeles. The budget totaled half that of Interview With the Vampire. Townsend, who after several attempts to schedule an interview declined to participate in this oral history, was tasked with bringing nü-metal swagger to Davis and Gibbs’s songs.
Gibbs: I had to rehearse [the actors who played Lestat’s bandmates]. We’re in this funky, abandoned warehouse outside of Melbourne. And Stuart is supposed to lip-sync along with us while the band is playing along with the tracks. He would go up there, turn his back to the band and to me, and stare out a window. Not once did he stand at the microphone and lip-sync a single word. I was starting to really hate Stuart Townsend.
Moreau: The best part was just hanging with Lena Olin. I would just follow her around and ask her questions, like, “What skin care do you use?” And she said, “Darling, you don’t rub the lotion in, you push the cream onto the face. Push, push!” She was so classy and incredible.Dungey: I remember being in Melbourne on set and seeing Aaliyah all dressed up as the queen and conveying this really terrifying and commanding presence.
Gibbs: In Australia, there wasn’t any song for Aaliyah to sing in the movie. We were exactly halfway through the shoot, because they threw a half-wrap party at some club in Melbourne. I hadn’t met Aaliyah. She walks over to me and says, “Richard, we haven’t really ever talked, but I just want to let you know how much I love the songs that you and Jonathan wrote.” She saw the look of puzzlement on my face. I wouldn’t have seen that coming given the style of music that she does.
Polaroid of Richard Gibbs and Jonathan Davis on the film’s scoring stage. Photo: Courtesy of Michael Rymer Rymer: We were dealing with a fairly hostile environment from the fan base: “I can’t believe Akasha is going to be Black. I can’t believe Lestat isn’t blond. This movie is going to suck.” Rymer: We saw the news that Aaliyah’s plane crashed. It happened on a Saturday night. We were going to have dinner on the Sunday, and she was going to record her ADR on Monday. I asked Rashad, her brother, if he would come in and do some of her ADR because Akasha has a powerful voice. She speaks from hundreds of years and hundreds of births. We double-tracked her, and I used different takes of her at the same time so you’ve got the sense that there was a quite ancient creature within her.
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