Polanski hoped to capture by not revealing Curtis' identity in advance. Filming Principal photography for Rosemary's Baby began on August 21, 1967, in New York City, where location shooting commenced. When Farrow was reluctant to film a scene that depicted a dazed and preoccupied Rosemary wandering into the middle of Fifth Avenue into oncoming traffic, Polanski pointed to her pregnancy padding and reassured her, "no one's going to hit a pregnant woman". The scene was successfully shot with Farrow walking into real traffic and Polanski following, operating the hand-held camera since he was the only one willing to do it. By September 1967, the shoot had relocated to California's Paramount Studios in Hollywood, where interior sets of the Bramford apartments had been constructed on sound stages. Some additional location shooting took place in Playa del Rey in October 1967. Farrow recalled that the dream sequence in which her character is attending a dinner party on a yacht was filmed on a vessel near Santa Catalina Island. Though Paramount had initially agreed to spend $1.9 million to make the film, the shoot was overextended due to Polanski's meticulous attention to detail, which resulted in him completing up to fifty takes of single shots. The shoot suffered significant scheduling problems as a result, and ultimately went $400,000 over budget. In November 1967, it was reported that the shoot was over three weeks behind schedule. The shoot was further disrupted when, midway through filming, Farrow's husband, Frank Sinatra, served her divorce papers via a corporate lawyer in front of the cast and crew. In an effort to salvage her relationship, Farrow asked Evans to release her from her contract, but he persuaded her to remain with the project after showing her an hour-long rough cut and assuring her she would receive an Academy Award nomination for her performance. Filming was completed on December 20, 1967, in Los Angeles. Music The lullaby played over the intro is the song "Sleep Safe and Warm", composed by Krzysztof Komeda and sung by Mia Farrow. The composition "Für Elise" is also frequently used as background music throughout the film. The original film soundtrack was released in 1968 via Dot Records. Waxwork Records released the soundtrack from the original master tapes in 2014, including Krzysztof Komeda's original work. Track listing Release Critical response In contemporary reviews, Renata Adler wrote in The New York Times that "The movie—although it