Cameras started rolling at Prague’s Barrandov Studios in January, 2003, on the constructed set of the clandestine armory, where Van Helsing receives not only his marching orders, but his arsenal and assistant, Carl. The cast and crew continued with additional soundstage work before setting down on their first location in the massive interior of a 15th century fortress roughly 90 kilometers outside of Prague in Tabor; the setting is the headquarters and armory of the Valerious family.
Two additional exterior sequences were executed—a street scene in the Kampa area of Prague, standing in for a Budapest street; and a scene set in a mausoleum of the Olsany Cemetary, doubling for the Vilkova Palace graveyard—before moving to a deconsecrated cathedral, the historic St. Nicholas Church, to film the elaborate sequence of Count Dracula’s ball inside Vilkova Palace.
Initially scouted as a reference point to acquaint filmmakers and designers with local architecture, St. Nicholas was eventually chosen as the scene for the massive ball thrown by the Count. Mercer remembers, “It started with a familiarization trip, when we brought Stephen over to show him the city and its people. St. Nicholas was an interesting example that we wanted him to see. Stephen said, ‘If Dracula threw a party—remember he’s a cool guy—where would it be?’ It turned out to be St. Nicholas.”
To convert the former house of worship into a macabre setting for Sommers’ idea of “the most amazing masquerade ball ever,” all of the pews had to be removed (working in tandem with a local heritage society) and an enormous dance floor laid over the existing rough concrete. Screens were constructed to hide the confessionals and decorate the space, and the room was further dressed with candelabras and mirrors—the statues were all left in place. Dressing the historic building proved challenging, as nothing could be fastened to any of the existing structure, prompting camera, grip and electric crews to revise their customary filming procedures. More than 1,400 low-heat, oil-burning candles were created for on-set—traditional wax candles are not allowed in the church; on the upside, this problem-solving solution also eliminated the need to monitor the continuity of the candle burn.
Even with all of the inherent challenges facing filmmakers, which included the indoor temperature hovering well-below freezing (“I’m surprised we don’t all look blue in this scene,” smiles Beckinsale), the beauty of the landmark served perfectly as the circus-type atmosphere dictated by Sommers. He comments, “If Dracula threw a ball, what would it be like? Probably really twisted and weird, with everything there—flame throwers and jugglers, wire acts and tightrope walkers.”
Preparation for the sequence involved the concentrated efforts of all departments, particularly: costumer Gabriella Pescucci, who dressed upwards of 270 performers; composer Alan Silvestri, who composed two of the scene’s musical tracks prior to shooting, utilizing a 115-piece orchestra; and Cirque du Soleil choreographer Debra Brown, who created two “very theatrical waltzing” dance sequences. Actors Beckinsale, Roxburgh and Anaya spent three weeks in dance rehearsals. Of the 250 local extras employed, 100 were some of Prague’s finest ballroom dancers, dance being a customary part of a Prague education; nine circus acts were also involved in the scene, as well as four performers from the famed Cirque du Soleil, including a contortionist, a trapeze artist and gymnasts.
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