there’s nothing there. I go to the drawer and there’s nothing in the drawer. The next day, I get the script from my agent.
She says, “Martine, this is a very strange script. Very strange.” “Well, I had a strange dream last night. My
God, I had such a nightmare!” And I told her about it. And she went, “Ahhhh! Oh God, you won’t believe this— there’s a scene in this script that is
just like that." I said, “Then I’m not doing it! No, that is an
omen; I am not doing it.” (Oliver cut the scene out eventually.) I had several omens. Just before I went to
Canada, I came via Los Angeles, because I had to be back in the States. Just before I left L.A., I came down with a sickness that nobody could diagnose. I had specialists, they took me to a hospital, they drained me; they did not know what was wrong. It was like these forces were out there saying, “Don’t do it.” And I kept saying, “ I can’t do it, I can’t.
Something is telling me not to do it.” But finally, of course, I did.
I ío u ? did the difficulties in shooting SEIZURE affect you personally? Any anec­ dotes in regard to this? Thousands! Thousands! My whole thing on
that is, I wish there had been a film crew filming us filming. It would have made a better film. What happened behind the scenes would have made an incredible film. There we were, all 40 of us together in this
house, fourteen to sixteen hours a day, with very little sleep. And we were crammed in there: we ate together, slept together, and we shot in the rooms. Each of our rooms was used as a set. And the incredible thing was, it wasn’t a sound stage, right? So nobody could go to the bathroom, have a bath, wash dishes... We couldn’t do anything while they were shooting. We couldn’t walk around because it was an old house and the floors squeaked. It was absolutely amazing. I’m drawing a bath—“Quiet! Quiet!” And I can’t hear anything so they have to rush up to me and say, “Turn the bath off!” I said, “Oh, all right.” So I’d have to sit there and wait. I couldn’t move, I’d
just have to sit there and wait till they were finished shooting the scene. And they’d tell me, “Okay, okay, turn it on.” “But now my bath is cold!” Those kind of things. Twelve of us were living in the house. There was Oliver [Stone], Jonathan [Frid], Christine
[Pickles], Troy [Donahue], Hervé [Villechaize], myself and some others. The first day we arrived at the house, sitting around and getting to know each other, we found that we all had crosses around our necks. We were really spooked. Barbara Steele gave me a cross, because she
is a friend of mine. She said, “Martine...” She knew about it, too. She has the same kind of vibes, doing those types of films, messing with those kind of things; they make you very vulner­ able to outside forces. When I arrived in Canada, everybody had a
cross around their necks. From then on, we had bad luck. We would be shooting in the attic—it was
very claustrophobic, because it was a real attic. We’d had fabulous weather, but the minute we got into the attic, we had a hailstorm. We would be shooting outside, and it would be freezing; the cameras would freeze. We had floods for three days and no water in the house. Everything was going wrong. Constantly. And
of course, all of us were clutching our crosses and going, “Oh, leave us alone!” And I kept saying, over and over, “But I’m the Queen of Evil!”
What did Oliver think about that? Was he also afraid? Oh, Oliver was freaked out of his mind!
Everything was going wrong. Everything. There was not a day that we didn’t have a problem.
Did he wear a cross, too? Did he think it was something supernatural? No, he didn’t, but SEIZURE came from his
nightmare. It was an actual nightmare that he had. It was a little hairy, to say the least, it really was. Everybody was a little crazed. I mean, the moods! The things that happened! And then the drinking. Everybody took to drinking. We’d have gallons of wine. I started making sangria. I became truly the Queen, I really did. I took over; the crew would eat stuff and leave dirty plates all around everywhere, and we didn’t have a maid cleaning. We had to do it all. So suddenly we were the maids. I’m going, “This cannot work!” and I’d scream and I’d become absolutely the cow, the bitch. So I started leaving notes everywhere: “ If you do not clean that I will k i l l ” I put Skull and Crossbones everywhere: “Do not do this. Do not do that. Stop it!” Finally, I went to the producers and I said,
“Listen you guys, you gotta get it together. You get a maid in here to clean, because I cannot do my work and clean houses too.”
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