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Downloaded from
YTS.BZ

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Official YIFY movies site:
YTS.BZ

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[♪♪♪]

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[♪♪♪]

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[♪♪♪]

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[Boorman] I always said that
you take all these elements,

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sets and landscapes and money,

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it all goes into the camera
and it goes into light.

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And at the end of the day,
you're just left

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with a light flickering
on a wall.

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And that's so ephemeral.

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People are very nervous
about turning their money

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into light, because you're then
faced with the problem

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of turning light
back into money,

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and very often you can't do it.

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Paul Rassam, the very gloomy
French producer,

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I said to him,
once have you actually analyzed

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how many films succeed
and how many fail?

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And he said, well,
it's like this.

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He said, in human births,
95% of human births are healthy,

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4% have a minor flaw,
and 1% die.

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With films,
it's the other way around.

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It's a very precarious business,
but it has a romance about it.

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It's a sort of spell
is cast over people

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to make movies.

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I mean,
David Lean said to me once,

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"John, you know,
we all make failures.

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Try not to make famous one."

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And this became
one of the most famous failures

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of all time in the cinema.

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[♪♪♪]

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[♪♪♪]

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This is the life of a filmmaker

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is that you're always challenged
between what you want to make

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and what they want you to make,

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and how you can live
with yourself.

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I've often described

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filmmaking as a kind of
joyous slavery.

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In some respects,
it's completely ruined my life.

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I'm always at its beck and call.

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I'm always waiting for the
actors to read the script,

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or the studio to consider
whether to make it,

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and there are always
so many reasons

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why a film should not be made,

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and only very rarely a few
reasons why it should.

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The elements you have
in your hand,

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you have a screen.

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A light falling on a screen.

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And you try to get
the audience to forget

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that it's two dimensional.

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And with a movie, you're allowed
to stare at people.

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In life, what do you do?

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You look and then you look away.

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You know, you can't stare
unless you're in love.

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This notion of identification
comes into it.

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The leading character,

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you become that person
to some extent.

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You experience their experiences
and you go through things

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with them that you wouldn't
be allowed to do in real life.

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So this is the part of
the film experience.

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This is what we're trying to do.

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At least, some of us are.

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[loud chants]

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[narrator 1]In the early 1960s,

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the Hollywood film industry
was in a state of crisis.

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Nothing like this has come in
to Rome since Romulus and Remus.

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Hollywood is starting
to struggle.

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The box office starts to plummet

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and studios make bigger
and bigger and bigger movies.

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[narrator 2] A legend that
sweeps across the screen!

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They start to spend
extravagant amounts of money.

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Big titles, big budgets,
huge stars.

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[narrator 2]Barbra Streisand as "Dolly"

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Julie Andrews…

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It's the once in a lifetime
entertainment!

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And those films started failing.

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♪ You've never seen anything
like it in your life ♪

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[narrator 1] By the time
the low budget youth comedy

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"The Graduate" became
the number one movie of 1967,

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Mrs. Robinson,
you're trying to seduce me.

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[narrator 1] Hollywood knew
it had to change.

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Studios didn't understand really

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how they were going to get
an audience back

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from television.

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We don't want nobody
telling us what to do.

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We don't want nobody pushing
us around.

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And they thought
these young directors

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might have an idea about it.

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This is grass.

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You mean marijuana?

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[vehicle whirring]

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[gunshot fires]

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[laughs]

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[slaps]

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They were giving chances
to filmmakers

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who they didn't really
understand…

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[gasps]

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…and it led to a lot of really
interesting movies.

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-Hey! I'm walking here!
-[vehicle honks]

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These films pump fresh blood
into Hollywood.

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[whoops]

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Younger filmmakers who had
radical new perspectives.

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It's this explosion
of incredibly inventive,

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distinct and original
filmmaking.

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No!
[muffled screams]

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[Stephanie]
Really imaginative filmmakers.

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[gunfire shots]

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They took chances.

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But the chances that
they took made money.

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[cackles]

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If they move, kill em!

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[bullets ricocheting]

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[explosions]

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Let's take the day off!

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-You want to?
-Yes!

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-You sure?
-Yes, sure, quick!

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[engine starts]

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John Boorman's directorial
feature debut

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was a film called
Catch Us If You Can.

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It was to the Dave Clark Five

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what a Hard Day's Night
was for the Beatles.

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[man 1] We're trying to shoot
a TV commercial for meat.

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Very surrealist.

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[Simon] It was about the
packaging and the selling

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of the Dave Clark Five

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and the way that they were being
treated like a commodity.

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Advertising is total war.

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That's actually kind of
a more bleak media critique

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than A Hard Day's Night.

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But is she selling meat?

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You know, it just wasn't as fun.

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And I gotta be honest,

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the Dave Clark Five

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are just not the most
charismatic stars.

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[groans]

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[shoes clack]

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One of the things to come out
of this new wave in Hollywood

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was that you didn't have
to tell a linear story

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the way Hollywood always did.

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Point Blank presents a story

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in a completely
non-linear fashion.

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-[door slams open]
-[gasps]

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It was a wild experience.

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[gunshots fires]

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It's a revenge picture,
but it's highly stylized.

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Incredibly violent,
incredibly intense.

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-[thud]
-[man screams]

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It's basically Lee Marvin saying
"Give me my money!"

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You're a very bad man, Walker,
a very destructive man!

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Why do you run around doing
things like this?

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What do you want?

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I want my money.

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[wheels screeching]

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Lee Marvin had cast approval,
script approval, final cut

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and he defers it all
to John Boorman.

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[gunshot fires]

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[Bilge] He basically gave
Boorman total power,

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which is why John Boorman
is able to make

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such a crazy movie.

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[Boorman] Point Blank
was my first color film.

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I really would like to have made
it in black and white,

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but it had to be in color

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and I had to struggle
to develop a relationship

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with color.

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And so,
I shot each scene in one color.

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It was monochromatic.

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And the head of the art
department at MGM

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wrote a memo to the head
of the studio saying

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this film will not be
releasable.

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You've got a scene here
in a green office

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where you've got seven men,
all in green suits

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with green shirts
and green ties.

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He said it would be laughed off
the screen.

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The girl was Walker's sister
in law!

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Of course, nobody objected to it
because some of those greens

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merged towards yellow and others
merged towards brown, shades.

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What it does is it gives you
a harmony, a strength.

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[woman 1] You're a pathetic
sight, Walker,

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from where I'm standing.

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Chasing shadows.

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Film is much closer to dream
than it is to reality.

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[indistinct speech]

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[Bilge] So after Point Blank,

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Boorman makes Hell in the
Pacific with Lee Marvin

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and Toshiro Mifune.

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It's an intense, beautiful film,
almost wordless.

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It was an incredibly difficult
shoot.

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It was shot on location
in the Pacific.

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The film is not all that
successful,

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but winds up becoming kind of
a "Dad Classic."

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[indistinct chattering]

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Leo the Last is a very peculiar,
almost fairy tale kind of story

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starring Marcello Mastroianni.

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I want to help you!

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All of you!

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It's an essential pivot
for Boorman.

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It was his way to go even more
out there than Point Blank.

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00:09:43,791 --> 00:09:44,542
[crunches]

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Leo the Last wound up
not being financially successful

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00:09:46,794 --> 00:09:48,546
or even at the time,
critically successful.

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People just saw it
as kind of a flop.

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00:09:50,631 --> 00:09:52,300
[demolishes]

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[narrator 1]It was Boorman's next film

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that really changed everything.

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[♪♪♪]

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00:10:05,730 --> 00:10:08,232
Deliverance
was this meteoric event.

207
00:10:08,316 --> 00:10:09,442
This is gonna be fun!

208
00:10:09,525 --> 00:10:12,737
Four friends go on a backwoods
canoeing adventure

209
00:10:12,820 --> 00:10:15,990
and are waylaid by the natives.

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00:10:16,073 --> 00:10:18,701
He got a little pretty mouth,
ain't he?

211
00:10:19,243 --> 00:10:22,079
It's a movie about fear.

212
00:10:22,163 --> 00:10:23,456
Male fear.

213
00:10:23,539 --> 00:10:27,251
And that the potential for
violence is possible in all men.

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00:10:27,335 --> 00:10:29,378
-[arrow swishes]
-[grunts]

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00:10:29,462 --> 00:10:33,299
Boorman went to great lengths
to make this terrain

216
00:10:33,382 --> 00:10:36,052
look as vivid and as hostile
as possible.

217
00:10:36,135 --> 00:10:38,429
They created this kind of
desaturated look

218
00:10:38,512 --> 00:10:40,389
to make it look otherworldly.

219
00:10:40,473 --> 00:10:42,183
Deliverance is ultimately
a horror movie.

220
00:10:42,266 --> 00:10:43,976
I would say Deliverance
is a horror movie.

221
00:10:44,060 --> 00:10:45,603
It's a relentless horror movie.

222
00:10:45,686 --> 00:10:48,230
Even its ending
is a horror movie ending.

223
00:10:50,649 --> 00:10:51,901
No!

224
00:10:51,984 --> 00:10:53,736
One of the final shots
of the movie

225
00:10:53,819 --> 00:10:55,946
has been ripped off
by horror movies.

226
00:10:56,030 --> 00:10:57,281
[screams]

227
00:10:59,492 --> 00:11:02,495
It's one of the first shock
endings.

228
00:11:03,162 --> 00:11:05,623
It was nominated
for three Academy Awards.

229
00:11:05,706 --> 00:11:07,750
Best Picture, Best Director,
Best Editing.

230
00:11:07,833 --> 00:11:11,504
Deliverance is a financial
smash, a critical smash,

231
00:11:11,587 --> 00:11:14,548
and it puts John Boorman
on the A-list.

232
00:11:21,555 --> 00:11:23,849
I'd just made Deliverance
for Warners.

233
00:11:23,933 --> 00:11:26,352
Then John Calley,
who ran Warners,

234
00:11:26,435 --> 00:11:29,647
asked me to read the book
of The Exorcist

235
00:11:29,730 --> 00:11:31,440
to decide
if I wanted to make it.

236
00:11:32,358 --> 00:11:33,317
I read the book.

237
00:11:33,401 --> 00:11:35,319
I was rather horrified by it.

238
00:11:35,403 --> 00:11:36,987
As a father of daughters,

239
00:11:37,071 --> 00:11:41,075
it seemed to me to be a book
about torturing a child.

240
00:11:41,158 --> 00:11:43,077
So I declined.

241
00:11:43,160 --> 00:11:44,870
[narrator 1] Instead,
John Boorman used

242
00:11:44,954 --> 00:11:46,122
his newfound clout

243
00:11:46,205 --> 00:11:49,125
to write and direct
a totally original film.

244
00:11:50,000 --> 00:11:52,002
The gun is good.

245
00:11:52,294 --> 00:11:54,296
-The gun is good.
-The gun is good.

246
00:11:54,380 --> 00:11:57,466
The penis is evil.

247
00:11:57,550 --> 00:11:59,885
I don't really know
how to describe the plot

248
00:11:59,969 --> 00:12:00,803
of Zardoz.

249
00:12:00,886 --> 00:12:03,556
[voice] Your aim
is to destroy me, isn't it?

250
00:12:03,639 --> 00:12:05,099
Yes.

251
00:12:05,182 --> 00:12:06,809
[voice]
Would you kill God?

252
00:12:06,892 --> 00:12:07,685
[chuckles]

253
00:12:07,768 --> 00:12:10,855
Sean Connery goes from a group
called The Brutals

254
00:12:10,938 --> 00:12:14,442
who have nothing except
raping and violence

255
00:12:14,525 --> 00:12:16,068
to keep them occupied.

256
00:12:16,152 --> 00:12:17,736
He's lured into the highly
advanced

257
00:12:17,820 --> 00:12:20,531
highly intellectual group
called The Vortex.

258
00:12:20,990 --> 00:12:21,782
[grunts]

259
00:12:21,866 --> 00:12:23,367
And he's there
into fulfilling

260
00:12:23,451 --> 00:12:24,869
their own subconscious
death wish.

261
00:12:24,952 --> 00:12:26,328
What is your purpose?

262
00:12:26,412 --> 00:12:27,913
I'm just an exterminator.

263
00:12:27,997 --> 00:12:29,665
-[gunshot fires]
-[groans]

264
00:12:29,748 --> 00:12:33,043
Zardoz, I made that picture
for $1 million

265
00:12:33,127 --> 00:12:34,837
and it had lots of effects,

266
00:12:34,920 --> 00:12:38,132
and of that million,
$100,000 went to Sean Connery.

267
00:12:38,215 --> 00:12:39,341
You are the one.

268
00:12:39,425 --> 00:12:42,136
So I didn't really have quite
enough money to make it, but

269
00:12:42,219 --> 00:12:45,014
I succeeded in getting
Fox to make

270
00:12:45,097 --> 00:12:46,432
a $1 million negative pick-up.

271
00:12:46,515 --> 00:12:48,767
In other words,
I had to borrow the money,

272
00:12:48,851 --> 00:12:52,229
and when I delivered it,
Fox paid me back the million.

273
00:12:52,563 --> 00:12:55,524
Zardoz is absolutely
one of the most out-there

274
00:12:55,608 --> 00:12:59,320
studio releases of the 70s
or any decade, really.

275
00:12:59,653 --> 00:13:03,824
The image that everybody knows
is Sean Connery in the man-kini

276
00:13:03,908 --> 00:13:08,120
with the long braid, which is--
it looks totally stupid,

277
00:13:08,204 --> 00:13:11,665
but when you see it in the film,
somehow it works.

278
00:13:11,916 --> 00:13:13,167
I want the truth.

279
00:13:13,250 --> 00:13:16,128
You must give the truth
if you wish to receive it.

280
00:13:16,212 --> 00:13:18,589
That's part of
the Boorman magic,

281
00:13:18,672 --> 00:13:22,968
is that he just invites you
into this fully imagined world.

282
00:13:23,052 --> 00:13:24,929
This place is built on lies.

283
00:13:25,012 --> 00:13:27,014
This has a big
"fuck you" energy.

284
00:13:27,097 --> 00:13:29,642
The tabernacle is
indestructible and everlasting.

285
00:13:29,725 --> 00:13:30,476
[gunshot fires]

286
00:13:30,559 --> 00:13:32,645
[Boorman]
In France, it did well,

287
00:13:32,728 --> 00:13:34,647
but in most other territories
it failed miserably.

288
00:13:34,730 --> 00:13:35,523
[gunshot fires]

289
00:13:35,606 --> 00:13:36,982
So that was a disappointment,
but

290
00:13:37,066 --> 00:13:39,818
I was very fortunate
to make Zardoz.

291
00:13:39,902 --> 00:13:42,488
It was very much the film
I wanted to make

292
00:13:42,571 --> 00:13:45,032
and I got away with it.

293
00:13:45,115 --> 00:13:46,742
[gunshot fires]

294
00:13:48,494 --> 00:13:49,828
In my experience,

295
00:13:49,912 --> 00:13:53,040
successful movies
have one thing in common.

296
00:13:54,166 --> 00:13:56,043
And that's luck.

297
00:13:57,169 --> 00:14:00,214
[Father]
Is there someone inside you?

298
00:14:00,297 --> 00:14:02,132
Sometimes.

299
00:14:02,216 --> 00:14:04,093
The original Exorcist is,
I think

300
00:14:04,176 --> 00:14:07,096
one of the more frightening
films ever made.

301
00:14:09,306 --> 00:14:11,058
[Joe]
It had a unique presence.

302
00:14:11,141 --> 00:14:11,892
[snarls]

303
00:14:11,976 --> 00:14:14,186
It's a brilliantly
manipulative movie.

304
00:14:14,478 --> 00:14:15,646
[Father] Who are you?

305
00:14:15,729 --> 00:14:19,441
It tapped into a fascination
with the devil

306
00:14:19,525 --> 00:14:21,026
and with the concept of
demonic possession.

307
00:14:21,110 --> 00:14:22,528
None of these are new ideas

308
00:14:22,611 --> 00:14:26,240
but none had been displayed
like this.

309
00:14:26,490 --> 00:14:28,617
It felt so real.

310
00:14:28,701 --> 00:14:30,077
-[groans, screams]
-[girl snarling]

311
00:14:30,160 --> 00:14:35,416
Friedkin had managed to take
a deeply supernatural story

312
00:14:35,499 --> 00:14:37,042
and make it feel utterly
grounded.

313
00:14:37,126 --> 00:14:39,295
-I'm Damien Karras.
-And I'm the devil!

314
00:14:39,378 --> 00:14:41,589
Well, I thought
it was well made.

315
00:14:41,672 --> 00:14:44,675
The swiveling heads and
the vomit and everything

316
00:14:44,758 --> 00:14:47,678
was a bit excessive.

317
00:14:47,761 --> 00:14:48,679
[grunts]

318
00:14:48,762 --> 00:14:49,597
Amen.

319
00:14:49,680 --> 00:14:50,514
But it was made well.

320
00:14:50,598 --> 00:14:52,600
-I cast you out!
-[laughs]

321
00:14:52,683 --> 00:14:56,020
And then of course,
it was a huge success

322
00:14:56,103 --> 00:14:59,940
and made oceans of money
for Warners,

323
00:15:00,024 --> 00:15:02,067
but I didn't enjoy it.

324
00:15:03,444 --> 00:15:06,113
[man 2] The Exorcist scored
the biggest opening day gross

325
00:15:06,196 --> 00:15:07,865
for a single theater
in the history

326
00:15:07,948 --> 00:15:10,117
of Los Angeles motion picture
houses.

327
00:15:10,200 --> 00:15:13,120
The Exorcist was a juggernaut.

328
00:15:17,333 --> 00:15:20,586
The word of mouth created lines
around the block.

329
00:15:20,669 --> 00:15:21,712
I'm Harry Francis,

330
00:15:21,795 --> 00:15:23,589
manager of the National Theater
here in Westwood.

331
00:15:23,672 --> 00:15:25,716
I've been in this business
40 years now,

332
00:15:25,799 --> 00:15:28,093
and I have never gone through
anything like this.

333
00:15:28,177 --> 00:15:31,096
I don't think you can even
really convey to people today

334
00:15:31,180 --> 00:15:34,058
nowadays, not everybody
goes to see the same movie

335
00:15:34,141 --> 00:15:36,727
to the degree that
everybody saw The Exorcist.

336
00:15:41,148 --> 00:15:42,775
Movies would start
in a handful of theaters

337
00:15:42,858 --> 00:15:43,692
in the big cities,

338
00:15:43,776 --> 00:15:44,943
and then spread out
throughout the country

339
00:15:45,027 --> 00:15:47,071
and that's what happened
with The Exorcist.

340
00:15:47,154 --> 00:15:49,406
The impact of
The Exorcist was huge.

341
00:15:49,490 --> 00:15:51,533
[newscaster 1] The New York
Times said the United States

342
00:15:51,617 --> 00:15:52,451
is going to the devil.

343
00:15:52,534 --> 00:15:55,746
Some psychiatrists are calling
The Exorcist a dangerous movie.

344
00:15:55,829 --> 00:15:57,581
It wasn't just a box office
smash.

345
00:15:57,665 --> 00:16:00,542
It wasn't just
a critical smash hit.

346
00:16:00,626 --> 00:16:02,544
People were passing out
in the theater.

347
00:16:04,546 --> 00:16:05,923
And once they fainted,

348
00:16:06,006 --> 00:16:07,424
they don't go back
into the picture.

349
00:16:07,508 --> 00:16:13,514
[♪♪♪]

350
00:16:17,393 --> 00:16:19,561
[Mike] It broke into
the Academy Awards.

351
00:16:19,645 --> 00:16:21,313
It was up for best picture
of the year.

352
00:16:21,397 --> 00:16:24,983
This isn't something that
horror films typically did.

353
00:16:25,067 --> 00:16:26,735
-[audience laughing]
-[bed creaks]

354
00:16:26,819 --> 00:16:29,655
The very idea of following that,

355
00:16:29,738 --> 00:16:32,908
to make a sequel to that,

356
00:16:32,991 --> 00:16:35,452
is a radical thought
in and of itself.

357
00:16:35,536 --> 00:16:38,831
-Say what?
-Your momma eats kitty litter!

358
00:16:38,914 --> 00:16:41,208
Oh, nobody talk about my mother!

359
00:16:45,295 --> 00:16:46,547
For the longest time,
sequels are seen

360
00:16:46,630 --> 00:16:47,756
as basically a rehash.

361
00:16:47,840 --> 00:16:48,757
Now, where were we?

362
00:16:48,841 --> 00:16:51,635
You make one movie,
it's really successful,

363
00:16:51,719 --> 00:16:54,221
you make another one,
that's basically the same thing

364
00:16:54,304 --> 00:16:56,014
but the situation
is slightly different.

365
00:16:56,098 --> 00:16:57,725
[narrator 3]
See, Son of Blob.

366
00:16:58,183 --> 00:16:59,643
[narrator 1] But audience tastes
were changing

367
00:16:59,727 --> 00:17:02,938
and sequels to big movies
were looking more attractive.

368
00:17:03,564 --> 00:17:05,607
Magnum Force,
the sequel to Dirty Harry

369
00:17:05,691 --> 00:17:07,317
out-grossed its predecessor

370
00:17:07,401 --> 00:17:10,279
and became the second-highest
grossing movie of 1973

371
00:17:10,362 --> 00:17:12,448
for Warner Brothers,
behind The Exorcist.

372
00:17:12,531 --> 00:17:15,534
Suddenly, sequels are being made
from the biggest movies.

373
00:17:15,909 --> 00:17:17,119
I know it was you, Fredo.

374
00:17:17,202 --> 00:17:20,497
When Francis Ford Coppola
makes The Godfather Part Two,

375
00:17:20,581 --> 00:17:23,876
it's one of the first times
a movie has had a "2" behind it.

376
00:17:23,959 --> 00:17:26,003
[narrator 1] Still,
sequels to The Godfather

377
00:17:26,086 --> 00:17:26,879
and The French Connection

378
00:17:26,962 --> 00:17:29,757
only grossed a fraction of what
their predecessors made.

379
00:17:29,840 --> 00:17:31,842
Making a sequel to The Exorcist
was by no means

380
00:17:31,925 --> 00:17:32,885
money in the bank.

381
00:17:32,968 --> 00:17:34,428
It was this incredible risk.

382
00:17:34,511 --> 00:17:35,929
Leave her body and go!

383
00:17:36,013 --> 00:17:38,432
I'm not going anyplace!

384
00:17:38,807 --> 00:17:40,058
[narrator 1] But one of
the biggest arguments

385
00:17:40,142 --> 00:17:42,311
Warner Brothers had to make
a sequel to The Exorcist

386
00:17:42,394 --> 00:17:45,564
was the avalanche of rip offs
and exploitation pictures

387
00:17:45,647 --> 00:17:47,941
that were cleaning up
at the box office.

388
00:17:48,025 --> 00:17:50,486
The Exorcist had been
such a smash,

389
00:17:50,569 --> 00:17:52,404
I think that Warner Brothers
felt, well,

390
00:17:52,488 --> 00:17:54,364
you know, we just can't go
wrong with this.

391
00:17:54,448 --> 00:17:55,783
[narrator 1]But the question was

392
00:17:55,866 --> 00:17:57,284
who would come back to do it?

393
00:17:57,367 --> 00:17:58,410
-[flame hisses]
-[gasps, screams]

394
00:17:58,494 --> 00:17:59,828
-[door creaks]
-[gasps]

395
00:18:02,039 --> 00:18:03,540
Ellen Burstyn doesn't
want to have anything

396
00:18:03,624 --> 00:18:04,374
to do with it.

397
00:18:04,458 --> 00:18:07,503
She actually had a not great
time with William Friedkin

398
00:18:07,586 --> 00:18:08,462
on The Exorcist.

399
00:18:08,545 --> 00:18:10,005
[narrator 1] "I turned down
a lot of money

400
00:18:10,088 --> 00:18:11,048
for The Exorcist II."

401
00:18:11,131 --> 00:18:13,217
"You can't make a brand
out of The Exorcist."

402
00:18:13,300 --> 00:18:14,676
"It's just ridiculous."

403
00:18:14,760 --> 00:18:16,678
Well, why are they tearing
the building down?

404
00:18:16,762 --> 00:18:18,514
Shall we summon the writer?

405
00:18:18,597 --> 00:18:20,516
[narrator 1] Writer and producer
William Peter Blatty

406
00:18:20,599 --> 00:18:22,142
and director William Friedkin

407
00:18:22,226 --> 00:18:24,478
were both publicly battling
Warner Brothers

408
00:18:24,561 --> 00:18:26,605
over profits they were owed
from the film.

409
00:18:29,691 --> 00:18:31,026
[Peter]
I was asked to write a sequel.

410
00:18:31,109 --> 00:18:33,070
I declined
because I didn't have an idea

411
00:18:33,153 --> 00:18:36,281
that was classy enough
and interesting enough.

412
00:18:36,365 --> 00:18:38,408
[Michael] My dad said,
why would I do a sequel?

413
00:18:38,492 --> 00:18:39,993
I've already written
everything I wanted

414
00:18:40,077 --> 00:18:40,869
in The Exorcist.

415
00:18:40,953 --> 00:18:42,120
The story is over.

416
00:18:42,204 --> 00:18:45,457
And I was thinking at the time,
well, for the money?

417
00:18:45,541 --> 00:18:47,751
I didn't say that, you know,
but that's what I was thinking.

418
00:18:47,835 --> 00:18:49,378
I mean, don't you do that
for the money?

419
00:18:49,461 --> 00:18:51,088
[narrator 1] That left it
to Linda Blair.

420
00:18:51,171 --> 00:18:52,506
There.
[chuckles]

421
00:18:52,589 --> 00:18:55,008
And if you think that I wanted
anything to do with that,

422
00:18:55,092 --> 00:18:55,926
you would be wrong.

423
00:18:56,009 --> 00:18:58,846
Were you ever nominated
for an Academy Award?

424
00:18:58,929 --> 00:18:59,680
Yeah.

425
00:18:59,763 --> 00:19:00,514
Linda Blair?

426
00:19:00,597 --> 00:19:02,474
[cheering, applauding]

427
00:19:03,141 --> 00:19:04,184
[camera lens whirring]

428
00:19:04,268 --> 00:19:06,895
You realize I really
was a normal kid.

429
00:19:06,979 --> 00:19:09,273
Nobody could have understood
that kind of fame.

430
00:19:09,356 --> 00:19:10,858
[interviewer 1] Hello Linda,
how's the head, all right?

431
00:19:10,941 --> 00:19:11,817
Oh, yeah.

432
00:19:11,900 --> 00:19:14,278
-[interviewer 1] No horns?
-No horns.

433
00:19:14,361 --> 00:19:18,156
It launched me
into a world that I had…

434
00:19:18,490 --> 00:19:19,783
[interviewer 2]
Do you have a boyfriend?

435
00:19:19,867 --> 00:19:22,703
Not a permanent one right now.

436
00:19:22,786 --> 00:19:24,955
And to be so young,
no matter where I went,

437
00:19:25,038 --> 00:19:28,041
you felt like
you were the Beatles.

438
00:19:28,333 --> 00:19:29,918
[Linda] I did several movies.

439
00:19:30,002 --> 00:19:31,837
We did Airport ‘75.

440
00:19:31,920 --> 00:19:34,006
We're happy to have you aboard,
Janice.

441
00:19:34,089 --> 00:19:34,965
Thank you.

442
00:19:35,048 --> 00:19:37,342
Then from there,
I did Born Innocent.

443
00:19:37,426 --> 00:19:39,553
They held me down
and they hurt me.

444
00:19:39,636 --> 00:19:41,972
We did Sarah T. -Portrait
of a Teenage Alcoholic.

445
00:19:42,055 --> 00:19:45,517
Oh, come on, you make me sound
like some major alcoholic freak.

446
00:19:45,601 --> 00:19:47,102
And I did Sweet Hostage
with Martin Sheen.

447
00:19:47,185 --> 00:19:49,479
-Where are you taking me to?
-Xanadu!

448
00:19:49,563 --> 00:19:50,522
So I'm always the victim.

449
00:19:50,606 --> 00:19:52,691
Kinda. You see?

450
00:19:52,774 --> 00:19:53,525
[chuckles]

451
00:19:53,609 --> 00:19:55,277
And then Warner Brothers
kept talking to me

452
00:19:55,360 --> 00:19:57,654
about The Exorcist Part Two,

453
00:19:57,738 --> 00:20:01,491
and I wanted nothing to do with,
like, uh no.

454
00:20:01,575 --> 00:20:03,327
[narrator 1] Linda's team told
the studio

455
00:20:03,410 --> 00:20:06,580
she wasn't interested in doing
a retread of The Exorcist.

456
00:20:06,663 --> 00:20:08,498
If they wanted her
for a sequel,

457
00:20:08,582 --> 00:20:10,626
it would have to be something
different.

458
00:20:10,709 --> 00:20:13,670
And Warner Brothers agreed
and came back with an offer,

459
00:20:13,754 --> 00:20:18,800
a big offer, rumored
to be around $1 million,

460
00:20:18,884 --> 00:20:21,094
which at the time
would make her

461
00:20:21,178 --> 00:20:24,014
one of the highest paid
actors in history.

462
00:20:24,097 --> 00:20:26,475
And Linda tentatively agreed,

463
00:20:26,558 --> 00:20:29,561
but only if she approved
the script.

464
00:20:30,354 --> 00:20:32,773
At the time, Boorman
was working with John Calley

465
00:20:32,856 --> 00:20:35,233
to develop Merlin Lives,

466
00:20:35,317 --> 00:20:37,694
a three hour epic
passion project

467
00:20:37,778 --> 00:20:40,864
about King Arthur and the
Knights of the Round Table.

468
00:20:40,948 --> 00:20:44,493
But that fall, Calley called
Boorman to come to Los Angeles

469
00:20:44,576 --> 00:20:47,663
to read a short treatment
of a different project.

470
00:20:48,080 --> 00:20:52,167
Calley came back to me
with a two page idea

471
00:20:52,250 --> 00:20:55,545
that was proposed
by Bill Goodhart,

472
00:20:55,629 --> 00:20:57,965
and it was about…

473
00:20:58,048 --> 00:20:59,299
…what followed.

474
00:21:00,300 --> 00:21:02,678
[narrator 1] Unlike the simple
battle of good versus evil

475
00:21:02,761 --> 00:21:03,804
in The Exorcist,

476
00:21:03,887 --> 00:21:05,931
much of which took place
in a single room,

477
00:21:06,014 --> 00:21:09,476
The Heretic would be an epic,
globetrotting thriller

478
00:21:09,559 --> 00:21:11,770
about a battle for the next
phase of human evolution.

479
00:21:13,063 --> 00:21:14,106
It's four years later,

480
00:21:14,189 --> 00:21:15,983
and Regan MacNeil
is having nightmares,

481
00:21:16,066 --> 00:21:17,901
which she's working through
with her therapist,

482
00:21:17,985 --> 00:21:19,736
Dr. Gene Tuskin.

483
00:21:19,820 --> 00:21:22,197
Father Phillip Lamont
and Lieutenant Kinderman

484
00:21:22,280 --> 00:21:23,991
are investigating
Father Merrin's death

485
00:21:24,074 --> 00:21:24,825
from the first film.

486
00:21:24,908 --> 00:21:25,659
What happened here?

487
00:21:25,742 --> 00:21:27,911
Doctor Tuskin has invented
a machine called

488
00:21:27,995 --> 00:21:29,121
the synchronizer,

489
00:21:29,204 --> 00:21:32,124
which puts two people together
in a hypnotic state

490
00:21:32,207 --> 00:21:35,002
where they can see each
other's thoughts and memories.

491
00:21:35,085 --> 00:21:36,003
Before too long,

492
00:21:36,086 --> 00:21:38,630
Father Lamont and Regan
are hooked up together,

493
00:21:38,714 --> 00:21:40,799
and visions of Father Merrin's
first exorcism

494
00:21:40,882 --> 00:21:44,469
in Africa show that the demon,
named Pazuzu,

495
00:21:44,553 --> 00:21:47,764
is still around and impeding
Reagan's spiritual growth.

496
00:21:48,098 --> 00:21:51,101
It all ends in a climactic,
locust-filled confrontation

497
00:21:51,184 --> 00:21:52,602
between good and evil

498
00:21:52,686 --> 00:21:55,647
at the Georgetown house
from the first film.

499
00:21:56,732 --> 00:21:58,692
But the inspiration
for the central concepts

500
00:21:58,775 --> 00:22:00,652
in the script came
from the writings

501
00:22:00,736 --> 00:22:02,112
of a French theologian.

502
00:22:02,195 --> 00:22:04,865
It had this idea
about Teilhard De Jardin

503
00:22:04,948 --> 00:22:08,535
the French theologist
who proposed that

504
00:22:08,618 --> 00:22:10,871
evolution would bring people
together,

505
00:22:10,954 --> 00:22:13,165
connecting them
in the subconscious,

506
00:22:13,248 --> 00:22:15,625
and that this coming
together of people

507
00:22:15,709 --> 00:22:18,628
would eventually affect
the whole human race,

508
00:22:18,712 --> 00:22:21,465
and the whole human race
would merge into oneness,

509
00:22:21,548 --> 00:22:24,092
which would kind of
become God in a sense.

510
00:22:24,176 --> 00:22:26,511
And so that piqued my interest.

511
00:22:28,680 --> 00:22:30,265
I started to think about it,

512
00:22:30,348 --> 00:22:34,227
and it was an opportunity
to make a film about,

513
00:22:34,311 --> 00:22:35,854
really, metaphysics

514
00:22:35,937 --> 00:22:40,942
and to express those
metaphysical ideas in images,

515
00:22:41,026 --> 00:22:43,612
and sound and character.

516
00:22:44,821 --> 00:22:46,531
[Linda] So we read the script.

517
00:22:46,615 --> 00:22:48,116
It was awesome.

518
00:22:48,200 --> 00:22:49,076
It was awesome.

519
00:22:50,535 --> 00:22:53,330
[Boorman]
So it was so tempting that I…

520
00:22:56,541 --> 00:22:58,543
…said I would do it.

521
00:23:07,135 --> 00:23:11,348
I recognized that there was…

522
00:23:11,431 --> 00:23:12,682
…dangers in this

523
00:23:12,766 --> 00:23:16,269
because it was a sequel
to The Exorcist,

524
00:23:16,353 --> 00:23:17,437
or seen as such.

525
00:23:19,189 --> 00:23:20,607
[interviewer 3] I understand
the studio offered it

526
00:23:20,690 --> 00:23:21,650
to Stanley Kubrick.

527
00:23:21,733 --> 00:23:23,026
Did you ever speak to him
about it?

528
00:23:23,110 --> 00:23:24,361
[Boorman] Oh, Stanley. Yeah.

529
00:23:24,444 --> 00:23:26,488
He said to me,
"well if you want to do a sequel

530
00:23:26,571 --> 00:23:27,364
to The Exorcist,

531
00:23:27,447 --> 00:23:30,242
you just give them
more blood and gore."

532
00:23:30,659 --> 00:23:32,327
And he was right, of course.

533
00:23:33,036 --> 00:23:35,122
[narrator 1] With John Boorman
and Linda Blair on board,

534
00:23:35,205 --> 00:23:38,583
the film was scheduled
for the summer of 1977,

535
00:23:38,667 --> 00:23:41,128
and the reported budget
was $8 million.

536
00:23:41,211 --> 00:23:42,838
The clock was ticking.

537
00:23:42,921 --> 00:23:45,924
I always say that screenplays
should be badly written.

538
00:23:46,591 --> 00:23:48,176
It has to be the starting point.

539
00:23:48,260 --> 00:23:49,803
A screenplay is a guide.

540
00:23:49,886 --> 00:23:52,889
It's a blueprint that you throw
away when you've made the film.

541
00:23:53,515 --> 00:23:54,891
[narrator 1]Writer William Goodhart

542
00:23:54,975 --> 00:23:56,143
was an established playwright,

543
00:23:56,226 --> 00:23:58,770
but his only screenwriting
credit at the time

544
00:23:58,854 --> 00:24:01,606
was an adaptation
of his own play, Generation.

545
00:24:01,690 --> 00:24:03,024
[Boorman] Well, I started
working with him.

546
00:24:03,108 --> 00:24:05,152
He had very narrow focus.

547
00:24:06,153 --> 00:24:07,863
He wasn't a visualist.

548
00:24:07,946 --> 00:24:10,949
His scripts were all dependent
on the dialogue.

549
00:24:11,700 --> 00:24:13,743
We worked together quite a bit,

550
00:24:13,827 --> 00:24:15,495
and it wasn't really
going anywhere.

551
00:24:15,579 --> 00:24:16,997
So I got Rospo in.

552
00:24:17,080 --> 00:24:18,415
I liked it.

553
00:24:18,498 --> 00:24:20,167
But I knew it had to change.

554
00:24:20,667 --> 00:24:22,502
[narrator 1] Rospo Pallenberg
had worked with Boorman

555
00:24:22,586 --> 00:24:25,297
on an unproduced adaptation
of The Lord of the Rings,

556
00:24:25,380 --> 00:24:27,257
as well as on the crew
of Deliverance.

557
00:24:27,340 --> 00:24:30,760
The Goodhart screenplay
was very intelligent

558
00:24:30,844 --> 00:24:33,805
in a sort of
a intellectual sense,

559
00:24:33,889 --> 00:24:35,473
but needed some jolts.

560
00:24:35,557 --> 00:24:37,642
[leopard screaming sound]

561
00:24:37,726 --> 00:24:39,769
We really dug into it in a way

562
00:24:39,853 --> 00:24:44,024
that was very forceful
and maybe unexpected.

563
00:24:45,025 --> 00:24:47,903
We finished the script and
I took it up to Bill Goodhart

564
00:24:47,986 --> 00:24:51,198
and I said, look,
this is what I want to do.

565
00:24:51,281 --> 00:24:53,825
And he said, okay,
that's what you want to do,

566
00:24:53,909 --> 00:24:55,118
but it's nothing to do with me.

567
00:24:55,202 --> 00:24:58,205
So we parted company
at that point.

568
00:24:59,831 --> 00:25:04,044
I never saw that we had a duty
to overcome the first film,

569
00:25:04,127 --> 00:25:07,130
but I could see
how some people might have.

570
00:25:08,173 --> 00:25:09,549
[interviewer 3]
Like John?

571
00:25:09,633 --> 00:25:10,592
Could be, yes.

572
00:25:10,675 --> 00:25:12,219
I could see that.

573
00:25:14,721 --> 00:25:17,891
[Boorman] Then, the question
of casting came up.

574
00:25:19,142 --> 00:25:20,977
I wanted Jon Voight.

575
00:25:25,482 --> 00:25:27,901
He was in a Jesuit seminary.

576
00:25:27,984 --> 00:25:29,277
He was going to be a priest.

577
00:25:29,361 --> 00:25:33,907
So he had very deep feelings
about religion.

578
00:25:38,411 --> 00:25:40,664
When I was persuading him
to do Deliverance, you know,

579
00:25:40,747 --> 00:25:42,749
he has great difficulty making
up his mind

580
00:25:42,832 --> 00:25:46,253
and went on and on for weeks
flirting with this part,

581
00:25:46,336 --> 00:25:47,712
and in the end,
I got so fed up

582
00:25:47,796 --> 00:25:49,130
I got him on the phone
and I said

583
00:25:49,214 --> 00:25:50,840
"Look, Jon,
I can't go on like this.

584
00:25:50,924 --> 00:25:52,592
You either want to do it
or you don't."

585
00:25:52,676 --> 00:25:54,511
I said, "look, I'm going
to count to ten.

586
00:25:54,594 --> 00:25:57,555
And if you haven't said yes
by ten,

587
00:25:57,639 --> 00:26:00,642
I'll take the answer as no
and I'll get somebody else."

588
00:26:00,934 --> 00:26:02,310
And I start to count:
one, two.

589
00:26:02,394 --> 00:26:05,021
He said "Wait, wait, wait.
Stop! Why-- why ten?

590
00:26:05,105 --> 00:26:07,941
Why not 30? Give me 30.
Will you give me 30?"

591
00:26:08,024 --> 00:26:09,776
No, I said "No, no,
I'm giving you ten!"

592
00:26:09,859 --> 00:26:10,610
I got to eight.

593
00:26:10,694 --> 00:26:11,903
He said "Wait, wait, wait!"

594
00:26:11,987 --> 00:26:13,113
I said "No, no, no!

595
00:26:13,196 --> 00:26:13,947
Nine…"

596
00:26:14,030 --> 00:26:14,781
"Wait. John.

597
00:26:14,864 --> 00:26:16,074
John, this is ridiculous!"

598
00:26:16,157 --> 00:26:17,325
"Ten!" Boom!

599
00:26:17,409 --> 00:26:18,743
Put the phone down.

600
00:26:20,328 --> 00:26:22,747
And then a few minutes later,
he called back and said,

601
00:26:22,831 --> 00:26:23,832
"I'll do it."

602
00:26:25,458 --> 00:26:27,502
And then when it came
to The Heretic,

603
00:26:27,585 --> 00:26:28,670
he had the same problems.

604
00:26:28,753 --> 00:26:29,879
God damn it!

605
00:26:29,963 --> 00:26:31,256
[Boorman]
He was very conflicted.

606
00:26:31,339 --> 00:26:33,633
And he again couldn't make up
his mind.

607
00:26:33,717 --> 00:26:35,885
He wanted to do it,
but at this particular time,

608
00:26:35,969 --> 00:26:38,096
he was thinking about
becoming a Jew.

609
00:26:38,179 --> 00:26:40,724
Because his research
into Christianity

610
00:26:40,807 --> 00:26:42,684
led him to the belief
that Christianity

611
00:26:42,767 --> 00:26:44,519
was a heresy of Judaism.

612
00:26:44,602 --> 00:26:46,313
So finally, he said no.

613
00:26:46,396 --> 00:26:49,024
[narrator 1] Warner
Communications CEO Ted Ashley

614
00:26:49,107 --> 00:26:50,984
argued that the film
needed a star.

615
00:26:51,067 --> 00:26:52,610
He proposed Jack Nicholson.

616
00:26:52,694 --> 00:26:55,864
Jack. He was a friend of mine,
and we did talk about it a bit.

617
00:26:55,947 --> 00:26:57,365
[laughs]

618
00:26:57,449 --> 00:26:59,993
[Boorman]
But completely wrong for this.

619
00:27:00,076 --> 00:27:00,827
Wooh!

620
00:27:00,910 --> 00:27:03,788
My candidate was Christopher
Walken all along.

621
00:27:03,872 --> 00:27:05,290
I thought he would be perfect.

622
00:27:05,373 --> 00:27:06,750
You must be one of those
hardened criminals

623
00:27:06,833 --> 00:27:08,293
that corrupts
the younger offender.

624
00:27:08,376 --> 00:27:11,046
[narrator 1] But the studio
was insisting on a star.

625
00:27:11,129 --> 00:27:12,797
An old-school movie star

626
00:27:12,881 --> 00:27:14,424
who seemed to be
on the precipice

627
00:27:14,507 --> 00:27:16,051
of a major career comeback.

628
00:27:16,134 --> 00:27:17,927
Do what you will, Caesar's done
it first and done it better,

629
00:27:18,011 --> 00:27:20,430
ruled better, loved better,
fought better.

630
00:27:20,513 --> 00:27:21,806
Run while you will,
as fast as you can,

631
00:27:21,890 --> 00:27:22,974
you can't get out.

632
00:27:23,058 --> 00:27:24,017
There's no way out.

633
00:27:24,768 --> 00:27:26,102
[narrator 1]By the end of the 1960s,

634
00:27:26,186 --> 00:27:28,438
Richard Burton was one
of the most written about,

635
00:27:28,521 --> 00:27:31,566
talked about and highest paid
actors in the world.

636
00:27:31,649 --> 00:27:34,652
-What do you want?
-Your death!

637
00:27:35,070 --> 00:27:36,196
[narrator 1] He'd been
nominated for the Oscars

638
00:27:36,279 --> 00:27:38,531
six times, never winning.

639
00:27:38,615 --> 00:27:40,367
But by the mid 1970s,

640
00:27:40,450 --> 00:27:42,369
tabloid coverage
of his hard drinking,

641
00:27:42,452 --> 00:27:45,497
extravagant spending
and divorce, remarriage

642
00:27:45,580 --> 00:27:47,582
and divorce again
to Elizabeth Taylor

643
00:27:47,665 --> 00:27:48,792
eclipsed his acting.

644
00:27:48,875 --> 00:27:53,004
Burton was an old school actor
trying to survive

645
00:27:53,088 --> 00:27:54,923
in a rapidly changing landscape.

646
00:27:55,006 --> 00:27:55,757
[indistinct speech]*

647
00:27:55,840 --> 00:27:57,217
He winds up in a number of films

648
00:27:57,300 --> 00:27:59,552
that aren't very good
or very successful.

649
00:27:59,636 --> 00:28:00,595
No!

650
00:28:01,679 --> 00:28:03,640
He's in a steep decline.

651
00:28:03,723 --> 00:28:05,058
-[karate chops]
-He was barely 50.

652
00:28:06,768 --> 00:28:07,769
-[glass shatters]
-[thuds]

653
00:28:07,852 --> 00:28:10,939
I was up to about two
and a half to three bottles

654
00:28:11,022 --> 00:28:14,025
of hard liquor a day,
which is a lot.

655
00:28:14,109 --> 00:28:15,652
So he went back to his roots.

656
00:28:17,695 --> 00:28:21,699
[Boorman] Burton had just done
a very successful Broadway play.

657
00:28:21,783 --> 00:28:23,284
So he was very hot.

658
00:28:23,368 --> 00:28:24,661
And they wanted him.

659
00:28:24,744 --> 00:28:25,662
They wanted him very much.

660
00:28:25,745 --> 00:28:27,038
When the studio tells Boorman

661
00:28:27,122 --> 00:28:30,333
he has to have Richard Burton,
it becomes a completely

662
00:28:30,417 --> 00:28:31,209
different movie.

663
00:28:31,292 --> 00:28:34,838
We were slightly in shock
and we had to grow into it.

664
00:28:34,921 --> 00:28:36,464
Burton was much older.

665
00:28:36,548 --> 00:28:40,677
So these notions of his crisis
in his priesthood

666
00:28:40,760 --> 00:28:42,387
were not as potent
as they would have been

667
00:28:42,470 --> 00:28:43,847
to a younger man.

668
00:28:43,930 --> 00:28:46,307
On the other hand,
he had a gravitas

669
00:28:46,391 --> 00:28:48,393
which helped to anchor
the film.

670
00:28:48,476 --> 00:28:50,311
And I met with him
and we talked about it.

671
00:28:50,395 --> 00:28:52,188
And so…

672
00:28:52,272 --> 00:28:53,898
…we got Richard Burton.

673
00:28:56,025 --> 00:28:56,860
Richard Burton.

674
00:28:56,943 --> 00:28:57,694
Really?

675
00:28:57,777 --> 00:28:59,070
Are you kidding me? What?

676
00:29:00,488 --> 00:29:04,367
For me, that will always be one
of the most incredible moments

677
00:29:04,451 --> 00:29:05,535
of my life.

678
00:29:06,453 --> 00:29:08,455
-Mrs. MacNeil?
-Yes?

679
00:29:08,538 --> 00:29:09,622
I'm Father Merrin.

680
00:29:09,706 --> 00:29:12,375
Max Von Sydow was very
reluctant to come back on.

681
00:29:12,750 --> 00:29:15,128
It's actually only after
Boorman says

682
00:29:15,211 --> 00:29:17,130
"I was not a fan of the first
film, and I actually think

683
00:29:17,213 --> 00:29:19,841
that we can do something to
almost counteract the effects

684
00:29:19,924 --> 00:29:20,758
of the first film."

685
00:29:20,842 --> 00:29:22,594
[narrator 1] "The Heretic"
will be a beautiful

686
00:29:22,677 --> 00:29:23,970
poetic healing film

687
00:29:24,053 --> 00:29:25,972
bearing the hope of
spiritual regeneration.

688
00:29:26,055 --> 00:29:28,808
I do hope you will find it
in your heart to do the picture.

689
00:29:28,892 --> 00:29:30,852
[Boorman] I talked a lot with
him about what I was trying

690
00:29:30,935 --> 00:29:31,936
to do with the story.

691
00:29:32,020 --> 00:29:34,939
He saw that, and the ideas of it
and so he came along.

692
00:29:35,023 --> 00:29:36,900
[narrator 1] The supporting
cast included Academy

693
00:29:36,983 --> 00:29:39,068
Award nominee James Earl Jones,

694
00:29:39,152 --> 00:29:41,196
Deliverance co-star
Ned Beatty

695
00:29:41,279 --> 00:29:43,198
and legendary actor
Paul Henreid

696
00:29:43,281 --> 00:29:45,533
who had been in numerous
Warner Brothers classics,

697
00:29:45,617 --> 00:29:47,076
including Casablanca.

698
00:29:47,160 --> 00:29:49,537
But then tragedy struck.

699
00:29:49,621 --> 00:29:51,831
William F. Kinderman,
homicide.

700
00:29:52,790 --> 00:29:53,917
[narrator 1] Lee J Cobb,

701
00:29:54,000 --> 00:29:56,336
who played Lieutenant Kinderman
in The Exorcist

702
00:29:56,419 --> 00:29:59,130
died suddenly of a heart attack
at the age of 64.

703
00:29:59,214 --> 00:30:01,299
He was always very much
part of it

704
00:30:01,382 --> 00:30:03,676
and his death meant that
we had to change

705
00:30:03,760 --> 00:30:05,011
a lot of things.

706
00:30:05,094 --> 00:30:08,640
The loss of Lee Cobb
is a pretty substantial one.

707
00:30:09,140 --> 00:30:10,642
[narrator 1]Instead of recasting,

708
00:30:10,725 --> 00:30:12,894
the decision was made
to write out the character

709
00:30:12,977 --> 00:30:14,687
of Kinderman completely

710
00:30:14,771 --> 00:30:16,356
and expand the role
of a different

711
00:30:16,439 --> 00:30:17,398
supporting character.

712
00:30:17,482 --> 00:30:19,567
-Hello?
-In here!

713
00:30:19,651 --> 00:30:22,320
The filmmakers wind up
returning to Kitty Winn

714
00:30:22,403 --> 00:30:23,863
who played Sharon,

715
00:30:23,947 --> 00:30:26,616
this assistant character
to Ellen Burstyn.

716
00:30:26,699 --> 00:30:28,409
And you also got an invitation.

717
00:30:28,493 --> 00:30:30,995
-What's this?
-Dinner at the White House.

718
00:30:31,079 --> 00:30:31,829
You're kidding me.

719
00:30:31,913 --> 00:30:35,041
And that really changed
the script quite a bit.

720
00:30:35,124 --> 00:30:37,252
[narrator 1] But they were still
missing the pivotal role

721
00:30:37,335 --> 00:30:38,795
of Regan's therapist.

722
00:30:38,878 --> 00:30:39,837
[Rospo] I was at a party.

723
00:30:39,921 --> 00:30:42,257
At the top of the steps,
I see this woman seated,

724
00:30:42,340 --> 00:30:43,466
and I look at her.

725
00:30:43,550 --> 00:30:45,677
Oh, I recognize her from

726
00:30:45,760 --> 00:30:47,512
Somebody Flew Over
the Cuckoo's Nest.

727
00:30:48,638 --> 00:30:50,932
She'd just done
One Flew Over the Cuckoo's Nest

728
00:30:51,015 --> 00:30:52,433
you know, Nurse Ratched.

729
00:30:52,517 --> 00:30:54,394
Your hand is staining my window.

730
00:30:54,477 --> 00:30:56,396
So she'd scored heavily there

731
00:30:56,479 --> 00:30:58,940
and the studio were very anxious
to bring her in.

732
00:30:59,482 --> 00:31:02,610
It was a very exciting time
after Cuckoo's Nest.

733
00:31:02,694 --> 00:31:07,115
I was more bankable,
or I could get a part easier.

734
00:31:07,198 --> 00:31:09,075
You know,
I was not used to that ever.

735
00:31:09,158 --> 00:31:10,868
First thing I mentioned
to John in the morning:

736
00:31:10,952 --> 00:31:13,371
"I've seen Doctor Tuskin!"

737
00:31:13,454 --> 00:31:14,747
[chuckles]

738
00:31:14,831 --> 00:31:17,458
"And she's this woman!"

739
00:31:17,750 --> 00:31:20,378
My agent said,
would I be interested

740
00:31:20,461 --> 00:31:23,256
in playing a part that
was written for a man?

741
00:31:23,339 --> 00:31:26,593
And so I read the script,

742
00:31:26,676 --> 00:31:28,261
but I didn't really
understand it.

743
00:31:29,470 --> 00:31:32,348
My part was self-evident.

744
00:31:32,432 --> 00:31:35,143
You know, I was the professional
in the room.

745
00:31:35,226 --> 00:31:38,479
I was interested in working
with John Boorman,

746
00:31:38,563 --> 00:31:40,398
being a Deliverance fan,

747
00:31:40,481 --> 00:31:45,486
although I couldn't really put
those two movies together.

748
00:31:45,570 --> 00:31:46,321
[laughs]

749
00:31:46,404 --> 00:31:48,239
I probably had the same reaction

750
00:31:48,323 --> 00:31:51,784
that a lot of people have
when they're making a sequel.

751
00:31:52,118 --> 00:31:53,911
You know, oh, it's the sequel.

752
00:31:53,995 --> 00:31:56,581
Why didn't I make the first one?

753
00:31:56,664 --> 00:31:57,415
[laughs]

754
00:31:57,498 --> 00:32:00,960
I would have been better
in the first one!

755
00:32:02,503 --> 00:32:04,422
[narrator 1] One of the elements
in Boorman's contract

756
00:32:04,505 --> 00:32:07,508
was that he could shoot
the film anywhere he wanted.

757
00:32:07,759 --> 00:32:11,220
The script called for scenes
in Rio de Janeiro, Ethiopia,

758
00:32:11,304 --> 00:32:13,473
the Vatican, New York City,

759
00:32:13,556 --> 00:32:15,266
and the original house
in Georgetown;

760
00:32:15,350 --> 00:32:18,061
and Boorman wanted to shoot
the studio work near his home

761
00:32:18,144 --> 00:32:18,895
in Ireland.

762
00:32:18,978 --> 00:32:21,898
But Ethiopia was in the middle
of a civil war.

763
00:32:21,981 --> 00:32:24,609
The Vatican would have
to approve the script.

764
00:32:24,692 --> 00:32:27,236
They were having a difficult
time getting permission to shoot

765
00:32:27,320 --> 00:32:29,656
at the original house
in Georgetown,

766
00:32:29,739 --> 00:32:31,699
and shooting in Ireland
would keep the studio

767
00:32:31,783 --> 00:32:33,493
from overseeing
the extensive project.

768
00:32:34,410 --> 00:32:37,497
I know that John was a great
admirer of Michael Powell.

769
00:32:38,915 --> 00:32:40,792
[narrator 1] Famous for its
startling visuals,

770
00:32:40,875 --> 00:32:42,710
almost all of Black Narcissus

771
00:32:42,794 --> 00:32:46,214
was shot on soundstages
at Pinewood Studios in England.

772
00:32:46,297 --> 00:32:47,924
All the things that
were done with sets

773
00:32:48,007 --> 00:32:50,510
are done specifically
for their unreality,

774
00:32:50,593 --> 00:32:53,930
because there's a level of
unreality that is dreamlike.

775
00:32:54,013 --> 00:32:55,640
[Rospo]
It was a created world.

776
00:32:55,723 --> 00:32:58,393
It wasn't the world,
it was a world.

777
00:32:58,476 --> 00:33:00,186
And that made sense with us

778
00:33:00,269 --> 00:33:02,188
because we were creating
a world.

779
00:33:02,271 --> 00:33:04,649
[narrator 1] So instead of
fighting with the studio,

780
00:33:04,732 --> 00:33:08,194
Boorman decided to embrace
recreating nearly everything,

781
00:33:08,277 --> 00:33:10,571
including African cliffs,
locust swarms

782
00:33:10,655 --> 00:33:13,074
to the famous Georgetown stairs,

783
00:33:13,157 --> 00:33:15,326
all on soundstages
at the Burbank Studios

784
00:33:15,410 --> 00:33:16,536
in Los Angeles.

785
00:33:17,161 --> 00:33:21,416
It takes film out of reality
into a sub-reality.

786
00:33:21,499 --> 00:33:22,834
It doesn't live
in the real world.

787
00:33:22,917 --> 00:33:24,752
It lives in the world
of the film.

788
00:33:25,211 --> 00:33:27,255
[narrator 1] The chilling
realism of William Friedkin's

789
00:33:27,338 --> 00:33:30,341
The Exorcist would be followed
by a fantastical,

790
00:33:30,425 --> 00:33:34,262
otherworldly environment
in John Boorman's The Heretic.

791
00:33:36,097 --> 00:33:39,016
[interviewer 3] How involved
was the studio in the script

792
00:33:39,100 --> 00:33:41,144
and the development
of the project?

793
00:33:41,227 --> 00:33:42,854
[inhales]

794
00:33:45,356 --> 00:33:46,816
Not at all.

795
00:33:48,067 --> 00:33:51,070
You know, the way the studios
were run then was so different.

796
00:33:51,863 --> 00:33:54,115
It was always by the seat
of the pants, you know,

797
00:33:54,198 --> 00:33:55,450
it was just how they felt.

798
00:33:55,533 --> 00:33:58,536
When Rospo and I
finished the script

799
00:33:58,619 --> 00:34:01,914
and gave it to Calley and,

800
00:34:01,998 --> 00:34:04,751
I don't know
if he ever read it, actually

801
00:34:04,834 --> 00:34:07,920
but he certainly had
no comments to make.

802
00:34:08,004 --> 00:34:14,010
[♪♪♪]

803
00:34:17,180 --> 00:34:20,016
One of the attractions of making
The Heretic was that

804
00:34:20,099 --> 00:34:22,018
I would have
a very substantial budget,

805
00:34:22,101 --> 00:34:24,270
and I would be able to do
all kinds of things.

806
00:34:25,271 --> 00:34:27,940
Now they're giving me everything
that I want, the cars

807
00:34:28,024 --> 00:34:29,484
and the thing and the house
and Beverly Hills,

808
00:34:29,567 --> 00:34:31,235
just all of the goods.

809
00:34:32,403 --> 00:34:35,031
[Louise] My first big paycheck
of my life.

810
00:34:35,114 --> 00:34:36,407
It was thrilling.

811
00:34:36,491 --> 00:34:39,035
I was earning money
for the first time

812
00:34:39,118 --> 00:34:40,495
with zeros!

813
00:34:41,162 --> 00:34:44,499
It may be the biggest production
I ever did.

814
00:34:44,582 --> 00:34:47,710
I think I just wanted to be
in a big studio movie…

815
00:34:48,961 --> 00:34:50,880
…where they were going to
spend a lot of money.

816
00:34:50,963 --> 00:34:53,758
♪ Make me believe in you ♪

817
00:34:53,841 --> 00:34:54,967
(make me believe in you)

818
00:34:55,051 --> 00:34:57,011
♪ Show me your love
can be true ♪

819
00:34:57,094 --> 00:34:58,137
(Show me your love is true)

820
00:34:58,221 --> 00:34:59,847
♪ Anything you want me… ♪

821
00:34:59,931 --> 00:35:02,809
There was a press conference
before we started the film.

822
00:35:02,892 --> 00:35:04,602
There was like 500 people
in a room.

823
00:35:04,685 --> 00:35:06,521
You got Linda Blair,
you got Richard Burton,

824
00:35:06,604 --> 00:35:08,064
you got John Boorman,
and so on.

825
00:35:08,147 --> 00:35:09,524
And we're talking
about The Exorcist Two.

826
00:35:09,607 --> 00:35:10,399
It was a big deal.

827
00:35:10,483 --> 00:35:12,693
[narrator 1] The 15 week
schedule was the longest

828
00:35:12,777 --> 00:35:13,945
of Boorman's career,

829
00:35:14,028 --> 00:35:15,863
with a projected September
wrap date

830
00:35:15,947 --> 00:35:19,534
and a national release
on June 17th, 1977;

831
00:35:19,617 --> 00:35:20,827
just over one year away.

832
00:35:20,910 --> 00:35:23,955
So Richard and I
are there answering questions.

833
00:35:24,372 --> 00:35:28,125
What I remember from it
was just laughing my butt off.

834
00:35:28,209 --> 00:35:34,215
[♪♪♪]

835
00:35:43,391 --> 00:35:44,809
[narrator 1]Rospo Pallenberg's wife,

836
00:35:44,892 --> 00:35:47,645
Barbara was hired to write
the film's making-of book.

837
00:35:48,020 --> 00:35:49,730
We were going to try to do
original things

838
00:35:49,814 --> 00:35:51,482
on an epic-scale picture,

839
00:35:51,566 --> 00:35:54,735
a film with a clear, fully
worked-out esthetic attitude

840
00:35:54,819 --> 00:35:57,905
within a big-budget,
Hollywood studio milieu.

841
00:35:57,989 --> 00:36:00,074
A terribly difficult thing
to pull off,

842
00:36:00,157 --> 00:36:01,701
because the bigger
a movie gets,

843
00:36:01,784 --> 00:36:04,036
the less original it
tends to become.

844
00:36:04,120 --> 00:36:05,872
This was completely original.

845
00:36:05,955 --> 00:36:08,332
Taking Regan
in a whole new light

846
00:36:08,416 --> 00:36:09,667
and all of these
different things,

847
00:36:09,750 --> 00:36:12,295
I just remember that it
was like, wow!

848
00:36:12,378 --> 00:36:13,129
This is really good.

849
00:36:13,212 --> 00:36:14,755
This is really good!

850
00:36:14,839 --> 00:36:15,965
This is awesome!

851
00:36:16,549 --> 00:36:19,927
Instead of this girl
obsessed by a ghastly evil,

852
00:36:20,011 --> 00:36:22,930
she's made into something
greater, better.

853
00:36:23,014 --> 00:36:24,056
[camera shutter whirrs]

854
00:36:24,140 --> 00:36:27,059
[narrator 1] And after months
of pre-production and rewrites,

855
00:36:27,143 --> 00:36:29,228
Boorman and his team
gathered in Burbank

856
00:36:29,312 --> 00:36:32,064
to commence principal
photography on The Heretic.

857
00:36:34,358 --> 00:36:37,028
I think that precision
and planning

858
00:36:37,111 --> 00:36:39,864
is the key to ambitious
filmmaking.

859
00:36:41,073 --> 00:36:43,034
You have to plan very carefully,

860
00:36:43,117 --> 00:36:44,368
because there isn't time
to experiment

861
00:36:44,452 --> 00:36:45,328
when you're on the set.

862
00:36:45,411 --> 00:36:47,788
You've got to have it
all worked out.

863
00:36:48,289 --> 00:36:49,624
The way I work is that

864
00:36:49,707 --> 00:36:52,501
I give the cameraman
and the AD

865
00:36:52,585 --> 00:36:55,671
a list of shots
on the first day of the week,

866
00:36:55,755 --> 00:36:58,132
and so it allows everybody
to plan.

867
00:36:58,215 --> 00:37:00,217
They see what they have to do
and what's involved

868
00:37:00,301 --> 00:37:02,511
so when we come to shoot it,
everyone's ready.

869
00:37:02,595 --> 00:37:03,721
And when they're not,

870
00:37:03,804 --> 00:37:05,723
that's when I do get a little
upset don't I?

871
00:37:05,973 --> 00:37:07,475
[narrator 1] Boorman chose
William Fraker

872
00:37:07,558 --> 00:37:09,644
to be the film's director
of photography.

873
00:37:10,186 --> 00:37:13,397
[Boorman] I saw some things
Bill Fraker did at that time.

874
00:37:13,481 --> 00:37:15,107
I quite liked his work.

875
00:37:15,191 --> 00:37:16,400
[narrator 1]And Richard MacDonald,

876
00:37:16,484 --> 00:37:18,903
who worked on Day of the Locust
and Jesus Christ Superstar

877
00:37:18,986 --> 00:37:21,030
was hired as the film's
production designer.

878
00:37:21,113 --> 00:37:26,369
He had some interesting ideas
of excluding blues and greens.

879
00:37:26,452 --> 00:37:29,580
The colors of life,
of optimism really.

880
00:37:29,664 --> 00:37:33,376
So the whole film
is in these yellow and grays.

881
00:37:33,459 --> 00:37:35,211
It has a visual harmony.

882
00:37:35,294 --> 00:37:37,380
If I wanted to wear
a blue dress,

883
00:37:37,463 --> 00:37:40,174
it would have to wait until
another time.

884
00:37:40,257 --> 00:37:42,134
We were all very enthusiastic.

885
00:37:42,218 --> 00:37:44,136
Everybody's attitude
on the show,

886
00:37:44,220 --> 00:37:46,764
everybody's spirit,
was really positive.

887
00:37:46,847 --> 00:37:48,724
I'm working on a huge show,

888
00:37:48,808 --> 00:37:51,143
my first show as a first
assistant cameraman

889
00:37:51,227 --> 00:37:53,729
with John Boorman
and Bill Fraker.

890
00:37:53,813 --> 00:37:54,981
It was intimidating.

891
00:37:55,064 --> 00:37:58,985
The idea that I could be behind
the scenes support the director

892
00:37:59,068 --> 00:38:02,071
was just so appealing to me
at that time of life.

893
00:38:02,363 --> 00:38:03,781
When I read the script
for The Heretic,

894
00:38:03,864 --> 00:38:05,741
I thought, it's a sequel
to The Exorcist

895
00:38:05,825 --> 00:38:07,785
and we have all these
great elements.

896
00:38:07,868 --> 00:38:09,662
Well, this could be
just as good or better.

897
00:38:11,789 --> 00:38:14,333
The first memory
I have of John Boorman

898
00:38:14,417 --> 00:38:15,710
is at the read through.

899
00:38:17,503 --> 00:38:20,339
We did at some place
at Warner Brothers,

900
00:38:20,423 --> 00:38:22,591
and Richard Burton was late.

901
00:38:24,593 --> 00:38:27,096
And he didn't arrive
and he didn't arrive.

902
00:38:27,179 --> 00:38:30,725
And finally, they decided
we'd just start without him.

903
00:38:32,309 --> 00:38:35,438
And we were halfway through
when he did arrive.

904
00:38:37,690 --> 00:38:39,859
He apologized profusely and said

905
00:38:39,942 --> 00:38:43,779
he had an upset stomach that
he always got when he traveled.

906
00:38:44,280 --> 00:38:47,533
So he sat down
and he began to read with us,

907
00:38:49,869 --> 00:38:53,039
and then he would jump up
and run out of the room

908
00:38:53,122 --> 00:38:54,665
to go to the men's room…

909
00:38:56,167 --> 00:38:58,878
…and come back and apologize.

910
00:39:06,927 --> 00:39:09,305
We finished without him,
as I recall.

911
00:39:09,388 --> 00:39:13,100
And then about five years later,
we went out to dinner.

912
00:39:13,184 --> 00:39:17,104
He said that he just had
his read through that day

913
00:39:17,188 --> 00:39:21,901
and he managed to be there
only like a third of the time,

914
00:39:21,984 --> 00:39:27,156
that he always pulled this thing
of being sick to his stomach

915
00:39:27,239 --> 00:39:29,575
when he had to go
to a read through

916
00:39:29,658 --> 00:39:31,202
because he hated read throughs.

917
00:39:31,911 --> 00:39:33,746
He didn't see the point of them.

918
00:39:33,829 --> 00:39:36,832
"What do they want to see,
that we can read?"

919
00:39:42,546 --> 00:39:43,714
Debbie.

920
00:39:43,798 --> 00:39:45,216
[indistinct chatter in distance]

921
00:39:45,299 --> 00:39:47,802
Debbie.
Can you hear it?

922
00:39:47,885 --> 00:39:49,053
No?

923
00:39:49,845 --> 00:39:51,138
I'll turn it up.

924
00:39:51,222 --> 00:39:53,265
[Boorman] Last few years,
there's been an explosion

925
00:39:53,349 --> 00:39:55,893
of research into these areas
of ESP

926
00:39:55,976 --> 00:39:57,186
and thought transference.

927
00:39:57,269 --> 00:39:59,647
In our script, we have

928
00:39:59,730 --> 00:40:02,942
what is really a logical
extension of this research.

929
00:40:03,025 --> 00:40:04,568
Very close
to what is being done.

930
00:40:04,652 --> 00:40:06,529
It's called synchronized
hypnosis.

931
00:40:07,655 --> 00:40:10,157
[Louise]
You see this?

932
00:40:10,241 --> 00:40:13,244
This is a machine
we can use together.

933
00:40:14,620 --> 00:40:17,623
It can put us in a deep state
of hypnosis,…

934
00:40:18,541 --> 00:40:20,167
…and you'd be very relaxed.

935
00:40:20,251 --> 00:40:23,170
And then we could look
at those bad dreams together

936
00:40:23,254 --> 00:40:25,548
and understand them

937
00:40:25,631 --> 00:40:27,299
and dissolve them.

938
00:40:28,384 --> 00:40:30,219
[Boorman] One of the objects
of making a film

939
00:40:30,302 --> 00:40:33,139
is to put the audience
into a light hypnosis.

940
00:40:35,099 --> 00:40:39,937
And you use sound and music
and movement to do that.

941
00:40:40,604 --> 00:40:43,482
One of the great moments
when you're watching a film

942
00:40:43,566 --> 00:40:44,775
is that you lose yourself.

943
00:40:46,318 --> 00:40:48,279
You lose who you are.

944
00:40:48,362 --> 00:40:50,197
The film seduces you.

945
00:40:50,281 --> 00:40:51,157
You enter the film.

946
00:40:51,240 --> 00:40:52,908
The film absorbs you.

947
00:40:52,992 --> 00:40:57,496
And so I always try to find
a way to hypnotize the audience.

948
00:41:00,124 --> 00:41:02,084
[Rospo]
It started off as a concern.

949
00:41:02,168 --> 00:41:06,130
Would this strobing create
an hypnotic effect

950
00:41:06,213 --> 00:41:07,965
in the audience

951
00:41:08,048 --> 00:41:12,094
and then there could be some bad
events that could come from it.

952
00:41:12,761 --> 00:41:15,222
We spoke to various hypnotists.

953
00:41:15,306 --> 00:41:18,726
They were utterly baffled,
I think, and said no,

954
00:41:18,809 --> 00:41:21,353
but I don't think they knew
what they were talking about.

955
00:41:22,855 --> 00:41:28,444
But we decided that it
would not create mass hysteria.

956
00:41:30,696 --> 00:41:33,157
When we got into the room
with the synchronizer,

957
00:41:33,240 --> 00:41:34,491
I realized

958
00:41:34,575 --> 00:41:37,286
this is going to be nothing
like the original Exorcist.

959
00:41:37,369 --> 00:41:40,748
It wasn't going to be
as scary as the first one.

960
00:41:40,831 --> 00:41:42,166
It was a different concept.

961
00:41:42,666 --> 00:41:44,877
The synchronizer
was like a joke to me.

962
00:41:44,960 --> 00:41:46,629
It looked like a kid's toy.

963
00:41:46,712 --> 00:41:49,423
I expected something more
interesting looking.

964
00:41:50,049 --> 00:41:52,092
I was amazed by it

965
00:41:52,176 --> 00:41:55,179
because it looked sort of
homemade as it should have.

966
00:41:55,596 --> 00:41:59,266
It did take a lot of hours
to set up some of the shots

967
00:41:59,350 --> 00:42:01,644
and there were times
when we wouldn't roll

968
00:42:01,727 --> 00:42:03,229
a frame of film
until after lunch.

969
00:42:03,979 --> 00:42:05,397
[narrator 1]It has taken four hours

970
00:42:05,481 --> 00:42:07,274
to light the first
Synchonizer shot,

971
00:42:07,358 --> 00:42:09,818
and Boorman is getting
increasingly nervous.

972
00:42:10,694 --> 00:42:12,363
A big part of the problem
is that

973
00:42:12,446 --> 00:42:14,782
because of union demarcations,

974
00:42:14,865 --> 00:42:16,867
the man who constructed
the synchronizer

975
00:42:16,951 --> 00:42:19,620
is not allowed to operate it
on the set.

976
00:42:19,703 --> 00:42:21,872
Is it a prop or is it a light?

977
00:42:21,956 --> 00:42:23,290
So I mean this process,

978
00:42:23,374 --> 00:42:26,418
this movie started off

979
00:42:26,502 --> 00:42:27,962
with not a bang.

980
00:42:28,712 --> 00:42:30,047
[narrator 1]At the end of the first day,

981
00:42:30,130 --> 00:42:34,260
production is already a quarter
of a day behind schedule.

982
00:42:35,386 --> 00:42:38,597
Deliverance, Zardoz
and The Heretic

983
00:42:38,681 --> 00:42:41,392
were all heavy effects
pictures really.

984
00:42:41,475 --> 00:42:42,810
Gene? Wake up.

985
00:42:42,893 --> 00:42:46,355
And they all came about
before CGI.

986
00:42:46,438 --> 00:42:47,481
Help me to find her.

987
00:42:47,564 --> 00:42:51,235
John Boorman and Bill Fraker
decided to do visual effects

988
00:42:51,318 --> 00:42:53,612
in-camera because they had
more control.

989
00:42:53,696 --> 00:42:56,031
Figuring out
how to get that done?

990
00:42:56,115 --> 00:42:58,701
Wow, it was an amazing
technical accomplishment.

991
00:42:58,784 --> 00:42:59,743
Watch the light.

992
00:42:59,827 --> 00:43:01,870
When you make an optical
in the lab,

993
00:43:01,954 --> 00:43:03,831
you take two scenes

994
00:43:03,914 --> 00:43:06,041
and you put them together
as best you can.

995
00:43:06,125 --> 00:43:09,503
But when you can adjust them
both before shooting them,

996
00:43:09,586 --> 00:43:11,547
you can get a marvelous effect.

997
00:43:11,630 --> 00:43:14,216
[whimpers]

998
00:43:14,300 --> 00:43:18,012
Ghost glass was a device
people used a lot in the past.

999
00:43:18,095 --> 00:43:19,596
I kind of revived it.

1000
00:43:19,680 --> 00:43:21,348
No!

1001
00:43:21,432 --> 00:43:23,100
Always.

1002
00:43:23,183 --> 00:43:26,353
You use the ghost glass
at an angle to the camera.

1003
00:43:26,437 --> 00:43:28,981
One set is at right angle
to the camera

1004
00:43:29,064 --> 00:43:31,692
and one set is facing
the camera.

1005
00:43:31,775 --> 00:43:34,320
Fundamentally,
it's making a live optical.

1006
00:43:35,237 --> 00:43:37,281
Father, please bring her back.

1007
00:43:37,364 --> 00:43:39,783
I storyboarded it
with Richard McDonald

1008
00:43:39,867 --> 00:43:43,454
to work out the way in which
the images melded together.

1009
00:43:43,537 --> 00:43:48,375
So you are able to adjust
the position of those two sets,

1010
00:43:48,459 --> 00:43:53,464
and you can rehearse it
until it just looks perfect.

1011
00:43:54,256 --> 00:43:57,301
[Stephanie] The illusion that
it creates is so complex.

1012
00:43:57,384 --> 00:43:58,177
[whimpers]

1013
00:43:58,260 --> 00:43:59,636
In God's name!

1014
00:43:59,720 --> 00:44:01,138
[groaning]

1015
00:44:01,221 --> 00:44:04,600
It's just one of those moments
in the film where you feel like

1016
00:44:04,683 --> 00:44:08,729
you really have entered
this realm of imagination.

1017
00:44:09,355 --> 00:44:10,314
What happened?

1018
00:44:10,397 --> 00:44:12,941
Technically,
it's an astonishing movie,

1019
00:44:13,025 --> 00:44:17,446
and many of the techniques
that he uses are…

1020
00:44:17,529 --> 00:44:19,365
I've never seen repeated again.

1021
00:44:19,740 --> 00:44:22,868
You're in Louise Fletcher's
office, and then--

1022
00:44:22,951 --> 00:44:24,703
-How do you feel?
-All right.

1023
00:44:24,787 --> 00:44:28,499
[Karyn] The lights go on
and you reveal the rest

1024
00:44:28,582 --> 00:44:29,750
of the space behind.

1025
00:44:29,833 --> 00:44:33,045
…effects of syncing with
another mind lasts a long time.

1026
00:44:33,128 --> 00:44:34,296
It's very powerful.

1027
00:44:34,380 --> 00:44:36,548
He's working overtime to create

1028
00:44:36,632 --> 00:44:39,551
these psychological effects
in the audience.

1029
00:44:39,927 --> 00:44:41,970
[Ron] There was a commitment
to get it right.

1030
00:44:42,054 --> 00:44:45,099
And not just by the director,
but by everyone involved in it.

1031
00:44:45,182 --> 00:44:46,767
[door whirrs]

1032
00:44:46,850 --> 00:44:49,520
Everybody was a perfectionist,
I think, on this movie.

1033
00:44:49,603 --> 00:44:51,688
The sequence
where Max von Sydow

1034
00:44:51,772 --> 00:44:55,692
is crumpled against the wall
in the Georgetown house,

1035
00:44:55,776 --> 00:44:58,237
and then all of a sudden
the camera rises

1036
00:44:58,320 --> 00:45:00,906
and you realize you're seeing
the stone church that

1037
00:45:00,989 --> 00:45:02,282
we've seen earlier.

1038
00:45:02,366 --> 00:45:05,452
You had grips pulling things
away really quickly.

1039
00:45:05,536 --> 00:45:07,037
And it's a really simple effect.

1040
00:45:07,121 --> 00:45:08,997
You almost don't even
register it.

1041
00:45:09,081 --> 00:45:12,251
And yet, you know, the movie
is filled with things like that.

1042
00:45:14,169 --> 00:45:16,046
[narrator 1] By week three,
the production had moved

1043
00:45:16,130 --> 00:45:17,423
to stage 16

1044
00:45:17,506 --> 00:45:19,508
to shoot some of the most
technically complex shots

1045
00:45:19,591 --> 00:45:20,426
in the film.

1046
00:45:20,884 --> 00:45:23,512
I'll never forget
when we turned one of the stages

1047
00:45:23,595 --> 00:45:25,264
into the desert.

1048
00:45:26,598 --> 00:45:28,475
It was an incredible set.

1049
00:45:28,559 --> 00:45:30,894
They build this corner
of Ethiopia.

1050
00:45:30,978 --> 00:45:34,398
They design every rock,
every crag, every hut.

1051
00:45:34,773 --> 00:45:35,899
It was immense.

1052
00:45:35,983 --> 00:45:37,526
It was a giant stage.

1053
00:45:37,609 --> 00:45:39,903
You felt like you were
in a village.

1054
00:45:39,987 --> 00:45:41,822
What I wanted to do
was bring the light level up

1055
00:45:41,905 --> 00:45:45,451
to where you could shoot
at a f5.6 or 8,

1056
00:45:45,534 --> 00:45:46,827
which, if you were
in the desert,

1057
00:45:46,910 --> 00:45:48,537
that's what you'd have to do.

1058
00:45:49,079 --> 00:45:51,123
We used 123 arc lights,

1059
00:45:51,206 --> 00:45:53,584
more than had been used on
any other movie at the time

1060
00:45:53,667 --> 00:45:54,877
in one stage.

1061
00:45:54,960 --> 00:45:58,172
I had never seen so many arcs,
so many,

1062
00:45:58,255 --> 00:46:00,716
that there weren't even enough
electricians to monitor

1063
00:46:00,799 --> 00:46:01,592
each arc.

1064
00:46:01,675 --> 00:46:04,803
They actually brought over
power from the stage next door,

1065
00:46:04,887 --> 00:46:07,014
so we could have enough juice
to run all the lights.

1066
00:46:07,097 --> 00:46:10,559
30 feet below the rooftop
was just a huge cloud of smoke,

1067
00:46:10,642 --> 00:46:12,769
and sometimes they would have to
stop filming for a short while

1068
00:46:12,853 --> 00:46:14,480
and turn off the lights so
the smoke could actually exit

1069
00:46:14,563 --> 00:46:15,397
the top of the stage.

1070
00:46:16,190 --> 00:46:19,193
We had so much light
going on that at one point

1071
00:46:19,276 --> 00:46:21,862
we had to stop because of fear
of setting fire to the whole

1072
00:46:21,945 --> 00:46:23,322
stage, it was a wooden stage.

1073
00:46:24,406 --> 00:46:25,824
Many of the shots that

1074
00:46:25,908 --> 00:46:29,661
were designed to sell the
locations worked out very well.

1075
00:46:29,745 --> 00:46:32,581
We had the stone funnel
where Burton climbs up

1076
00:46:32,664 --> 00:46:33,582
the mountain.

1077
00:46:33,665 --> 00:46:34,750
It was on its side.

1078
00:46:34,833 --> 00:46:36,877
We had the dolly along
the side of it.

1079
00:46:36,960 --> 00:46:39,213
And then I do remember there was
some vertical stuff as well,

1080
00:46:39,296 --> 00:46:40,589
where we had the crane,

1081
00:46:40,672 --> 00:46:43,258
and the crane had to go up
and down with the actors.

1082
00:46:43,759 --> 00:46:45,219
[Victor]
John was tough on camera.

1083
00:46:45,302 --> 00:46:48,096
If you didn't do your job
exactly the way

1084
00:46:48,180 --> 00:46:50,307
John wanted it done,
he'd let you know about it.

1085
00:46:51,016 --> 00:46:52,476
Bill Fraker used to have
a bottle of

1086
00:46:52,559 --> 00:46:54,478
Mylanta or Pepto-Bismol
on the dolly,

1087
00:46:54,561 --> 00:46:56,772
and then by midday,
he'd be swigging away at it

1088
00:46:56,855 --> 00:46:59,316
because John had beat him up
so badly.

1089
00:46:59,817 --> 00:47:03,487
They went and tried to find
actual Ethiopians in Los Angeles

1090
00:47:03,570 --> 00:47:04,530
to cast for this film.

1091
00:47:04,613 --> 00:47:07,824
A lot of retakes, a lot of
retakes, because these people

1092
00:47:07,908 --> 00:47:10,869
aren't established actors
and they need more direction.

1093
00:47:10,953 --> 00:47:13,872
So it takes a take
after take after take.

1094
00:47:13,956 --> 00:47:15,874
[dog barking]

1095
00:47:19,086 --> 00:47:20,754
I love moving the camera,

1096
00:47:20,837 --> 00:47:23,006
but I did not want my results

1097
00:47:23,090 --> 00:47:25,342
to be anything
but Hollywood smooth.

1098
00:47:25,842 --> 00:47:29,596
I thought there has to be some
way to isolate the camera

1099
00:47:29,680 --> 00:47:32,808
from a moving person,
and I started chasing that.

1100
00:47:35,519 --> 00:47:37,688
Kubrick sent us a telex
immediately:

1101
00:47:37,771 --> 00:47:40,315
"Steadicam should revolutionize
the way films are shot"

1102
00:47:40,399 --> 00:47:42,401
"You can count on me
as a customer"

1103
00:47:42,985 --> 00:47:45,779
I was reading this telex as if
it had arrived from Valhalla,

1104
00:47:45,862 --> 00:47:46,989
you know?

1105
00:47:47,239 --> 00:47:48,490
Amazed!

1106
00:47:48,574 --> 00:47:51,827
[narrator 1] John Boorman hired
Garrett Brown and his Steadicam

1107
00:47:51,910 --> 00:47:55,289
for not just 1 or 2 shots,
but several major sequences,

1108
00:47:55,372 --> 00:47:58,208
including one near
impossible shot.

1109
00:47:58,292 --> 00:48:01,169
What do you have to do
mentally to become a locust?

1110
00:48:01,253 --> 00:48:04,339
It's a Pazuzu point of view,

1111
00:48:04,423 --> 00:48:06,174
just running through
the African village.

1112
00:48:06,258 --> 00:48:08,176
Garrett's got that
Steadicam tight

1113
00:48:08,260 --> 00:48:10,596
and people are jumping out
of the way.

1114
00:48:10,679 --> 00:48:13,724
[Garrett] All bets are off when
you're a creature like a locust.

1115
00:48:13,807 --> 00:48:16,435
Who the hell knows
what a locust sees?

1116
00:48:16,518 --> 00:48:19,730
I concluded that a locust would
bank around corners

1117
00:48:19,813 --> 00:48:23,066
and that a locust would look
at stuff with a great deal

1118
00:48:23,150 --> 00:48:24,276
of decision.

1119
00:48:24,359 --> 00:48:28,280
And we go right into Kokumo,
and he opens his mouth.

1120
00:48:29,114 --> 00:48:31,700
It's a pretty good locust POV!

1121
00:48:32,826 --> 00:48:34,578
[Boorman]
A close up of a locust.

1122
00:48:34,661 --> 00:48:36,204
How are we going to do that?

1123
00:48:36,288 --> 00:48:37,831
Well Oxford Scientific Films,

1124
00:48:37,914 --> 00:48:41,752
what they discovered
was that if the locust's feet

1125
00:48:41,835 --> 00:48:44,838
are not on the ground,
it automatically flies.

1126
00:48:45,172 --> 00:48:46,632
All they did was
put a pin round

1127
00:48:46,715 --> 00:48:49,760
and attach it to a wall
and they would fly away happily.

1128
00:48:50,302 --> 00:48:54,806
And so we'd get these great
close ups of the flying locusts.

1129
00:48:56,058 --> 00:48:57,351
Albert Whitlock.

1130
00:48:57,434 --> 00:49:01,063
He was one of the greatest
effects men that's ever been.

1131
00:49:02,272 --> 00:49:05,484
I said, well, I'm trying to do
this swarm of locusts

1132
00:49:05,567 --> 00:49:06,943
and I don't know how to do it.

1133
00:49:07,027 --> 00:49:09,655
That sort of piqued
his interest.

1134
00:49:10,614 --> 00:49:14,159
He was the one who devised
putting these iron filings

1135
00:49:14,242 --> 00:49:15,661
on a piece of glass,

1136
00:49:15,744 --> 00:49:18,330
and then with a magnet
underneath the glass,

1137
00:49:18,413 --> 00:49:21,750
move them around
and impression of a swarm.

1138
00:49:21,833 --> 00:49:24,419
He was incredibly inventive.

1139
00:49:27,005 --> 00:49:29,925
[Steven] African locusts were
an important part of the film.

1140
00:49:30,008 --> 00:49:32,636
I had just gotten
my master's degree

1141
00:49:32,719 --> 00:49:34,721
from Cal State Long Beach.

1142
00:49:34,805 --> 00:49:36,598
I had never worked
on a movie before,

1143
00:49:36,682 --> 00:49:38,558
and this was a huge movie.

1144
00:49:39,851 --> 00:49:42,604
Initially there were 3000
African locusts.

1145
00:49:42,688 --> 00:49:44,231
They contracted for 10,000.

1146
00:49:44,314 --> 00:49:45,399
They only got 3000

1147
00:49:45,482 --> 00:49:47,693
so I don't think
they could get any more.

1148
00:49:47,776 --> 00:49:51,113
The locusts were shipped
in little vials.

1149
00:49:51,196 --> 00:49:54,533
I found myself looking
at 3000 locust butts

1150
00:49:54,616 --> 00:49:57,703
one at a time to make sure
that there were all males

1151
00:49:57,786 --> 00:50:00,080
because male and females
looked different.

1152
00:50:00,539 --> 00:50:02,332
We found nine females.

1153
00:50:02,416 --> 00:50:04,751
And the reason that
is important is because

1154
00:50:04,835 --> 00:50:07,003
if the females got out
and laid eggs,

1155
00:50:07,087 --> 00:50:10,257
we could have locust swarms
in Beverly Hills

1156
00:50:10,340 --> 00:50:12,718
and I don't think that
that's a good idea.

1157
00:50:16,346 --> 00:50:20,559
We put them in 8x8 foot cages
in the Warner Brothers gym

1158
00:50:20,642 --> 00:50:23,895
and we had to grow
80 flats of ryegrass.

1159
00:50:23,979 --> 00:50:27,733
So every day I would go in
with trays of grass

1160
00:50:27,816 --> 00:50:30,485
that the locusts would mow down.

1161
00:50:31,278 --> 00:50:32,946
That was kind of mind blowing
for somebody

1162
00:50:33,029 --> 00:50:35,490
who just got their degree
in entomology.

1163
00:50:42,581 --> 00:50:43,874
So.

1164
00:50:43,957 --> 00:50:45,500
In the script,…

1165
00:50:45,584 --> 00:50:49,755
…John has written in that
Regan tap dance.

1166
00:50:52,340 --> 00:50:54,050
-[tap dancing]
-[saxophone playing]

1167
00:50:55,427 --> 00:50:58,472
Well, that wasn't anything that
I was interested in doing.

1168
00:51:00,682 --> 00:51:03,185
Did ballet, modern dance,
gymnastics.

1169
00:51:03,268 --> 00:51:08,398
It was the only art form
of dance that I didn't like.

1170
00:51:08,482 --> 00:51:10,692
-[tap dancing]
-[saxophone playing]

1171
00:51:10,776 --> 00:51:11,985
So that was war.

1172
00:51:12,068 --> 00:51:15,197
I personally didn't think
that it needed to be in there.

1173
00:51:15,280 --> 00:51:17,657
So that was the only thing that
John and I were like

1174
00:51:17,741 --> 00:51:18,700
"Don't you just love it?"

1175
00:51:18,784 --> 00:51:21,077
And I'm like: "No!"

1176
00:51:22,788 --> 00:51:23,622
[Bonnie]
She was fun!

1177
00:51:23,705 --> 00:51:25,499
You know, the crew loved her!

1178
00:51:25,582 --> 00:51:27,459
Especially the boys.

1179
00:51:27,542 --> 00:51:28,418
[chuckles]

1180
00:51:28,502 --> 00:51:30,295
[Bonnie] She was pretty good
with her lines.

1181
00:51:30,378 --> 00:51:31,630
She knew what she was doing.

1182
00:51:31,713 --> 00:51:32,756
She did a terrific job.

1183
00:51:32,839 --> 00:51:34,257
Oh, she was easy.

1184
00:51:34,341 --> 00:51:35,175
Always cheerful.

1185
00:51:35,258 --> 00:51:36,635
Telling secrets?

1186
00:51:36,718 --> 00:51:37,928
Very professional.

1187
00:51:38,011 --> 00:51:39,304
Linda came prepared.

1188
00:51:39,387 --> 00:51:41,431
What you got with Linda
was late.

1189
00:51:41,515 --> 00:51:42,516
Late.

1190
00:51:42,599 --> 00:51:44,768
Linda Blair was late.

1191
00:51:44,851 --> 00:51:45,602
You're right on time.

1192
00:51:45,685 --> 00:51:46,978
Go on in. For once!

1193
00:51:47,270 --> 00:51:49,147
This is one thing you don't do.

1194
00:51:49,231 --> 00:51:52,150
Even Richard Burton
was on time!

1195
00:51:53,401 --> 00:51:55,529
I mean, come on, man.

1196
00:51:55,612 --> 00:51:56,988
Don't you trust me?

1197
00:51:57,072 --> 00:51:57,989
But I do.

1198
00:51:58,073 --> 00:51:58,907
I do.

1199
00:51:59,866 --> 00:52:01,076
[Louise]
She's very sweet.

1200
00:52:01,159 --> 00:52:04,204
And during the day, I'd forget
how mad I was at her.

1201
00:52:04,287 --> 00:52:08,708
I didn't hold a grudge after
about 9:00 in them morning.

1202
00:52:10,085 --> 00:52:11,920
But at seven?

1203
00:52:13,004 --> 00:52:14,506
You know, when I had to get up?

1204
00:52:14,589 --> 00:52:17,217
I had no intention
of making this movie.

1205
00:52:17,300 --> 00:52:19,010
So it's on my terms.

1206
00:52:19,386 --> 00:52:21,221
[narrator 1] One of the
stipulations of her contract

1207
00:52:21,304 --> 00:52:24,432
was Linda would not be featured
in any extensive makeup

1208
00:52:24,516 --> 00:52:26,268
like she was in the original
Exorcist.

1209
00:52:26,351 --> 00:52:29,813
She had top billing and would be
the face on the poster.

1210
00:52:29,896 --> 00:52:32,482
[Linda] It's an incredible
pressure position to be in.

1211
00:52:32,566 --> 00:52:33,567
Because truly, as an artist,

1212
00:52:33,650 --> 00:52:35,277
you better have
your shit together.

1213
00:52:35,360 --> 00:52:37,654
You better do your work.

1214
00:52:38,071 --> 00:52:40,031
What's the matter with you?

1215
00:52:40,115 --> 00:52:42,075
[Mike] I think Linda Blair's
performance is good.

1216
00:52:42,158 --> 00:52:44,911
You know, I think she doesn't
get the credit she deserves.

1217
00:52:45,161 --> 00:52:50,667
I'm autistic.

1218
00:52:51,209 --> 00:52:52,961
How do you mean?

1219
00:52:53,044 --> 00:52:57,132
A lot of people look at that
performance and kind of

1220
00:52:57,215 --> 00:52:58,466
laugh at it?

1221
00:52:58,550 --> 00:53:01,553
I was possessed by a demon.

1222
00:53:02,971 --> 00:53:03,972
Oh. It's okay.

1223
00:53:04,055 --> 00:53:05,223
He's gone.

1224
00:53:05,307 --> 00:53:06,141
[Stephanie] You know, oh ha ha.

1225
00:53:06,224 --> 00:53:09,185
Like it's--
the line doesn't quite--

1226
00:53:09,728 --> 00:53:11,438
you know,
maybe it doesn't quite hit.

1227
00:53:11,521 --> 00:53:16,192
But she brings something to it
that I just find…

1228
00:53:16,276 --> 00:53:18,653
…so fresh and moving.

1229
00:53:18,737 --> 00:53:19,613
[woman 2]
What did you do?

1230
00:53:19,696 --> 00:53:20,780
Nothing.

1231
00:53:20,864 --> 00:53:22,449
I just started talking to her.

1232
00:53:23,283 --> 00:53:25,452
First she was talking inside,

1233
00:53:25,535 --> 00:53:27,621
and then she started
talking outside.

1234
00:53:28,121 --> 00:53:29,623
When you set out to make a film,

1235
00:53:29,706 --> 00:53:32,667
you look at the problems
that it poses

1236
00:53:32,751 --> 00:53:35,420
and decide
how you can solve them.

1237
00:53:35,503 --> 00:53:36,838
These problems can be effects,

1238
00:53:36,922 --> 00:53:40,008
it can be the,…

1239
00:53:40,091 --> 00:53:41,092
…the acting.

1240
00:53:41,635 --> 00:53:43,178
It was horrible.

1241
00:53:43,845 --> 00:53:45,805
Utterly horrible.

1242
00:53:46,723 --> 00:53:48,141
And fascinating.

1243
00:53:48,224 --> 00:53:49,809
What disappointed me was that

1244
00:53:49,893 --> 00:53:52,020
the whole time
we shot that picture,

1245
00:53:52,103 --> 00:53:56,441
Burton never made a single
suggestion or contribution

1246
00:53:56,524 --> 00:53:59,569
but he always did exactly
what I asked him to do.

1247
00:53:59,653 --> 00:54:02,280
Evil is a spiritual being.

1248
00:54:02,364 --> 00:54:04,574
His voice was the great thing
with him.

1249
00:54:04,658 --> 00:54:06,534
He couldn't act
from the neck down.

1250
00:54:06,618 --> 00:54:09,204
He didn't have that kind of
balletic feeling that

1251
00:54:09,287 --> 00:54:10,747
Lee Marvin had.

1252
00:54:10,830 --> 00:54:13,833
Today, wherever I look,
I see only evil.

1253
00:54:15,168 --> 00:54:16,461
God has fallen silent.

1254
00:54:16,544 --> 00:54:18,838
[Boorman] There was limitations
with Burton.

1255
00:54:18,922 --> 00:54:22,550
So I had to tailor his scenes
to those limitations.

1256
00:54:22,968 --> 00:54:24,177
Leave her alone!

1257
00:54:24,260 --> 00:54:25,011
She belongs to me!

1258
00:54:25,095 --> 00:54:28,139
Because he was not happy,

1259
00:54:28,223 --> 00:54:31,768
Richard, he didn't really
bring himself to the role.

1260
00:54:32,018 --> 00:54:34,396
He'd tell me ditties and you
know, keep me entertained

1261
00:54:34,479 --> 00:54:37,899
but I never really felt like
I was performing with him.

1262
00:54:37,983 --> 00:54:40,402
I'm sorry, doctor,
I won't intrude any longer.

1263
00:54:40,485 --> 00:54:41,903
Oh, it's okay Father.

1264
00:54:41,987 --> 00:54:43,405
You can stay if you'd like.

1265
00:54:44,239 --> 00:54:46,992
He brought his manner,

1266
00:54:47,075 --> 00:54:49,411
which is kind of
always the same.

1267
00:54:49,494 --> 00:54:51,079
I saw him in a vision.

1268
00:54:51,162 --> 00:54:52,914
I saw his power over evil.

1269
00:54:52,998 --> 00:54:56,001
It's still a little over
the top…

1270
00:54:56,543 --> 00:54:57,419
…for film.

1271
00:54:57,502 --> 00:54:59,129
Evil overwhelms us.

1272
00:54:59,212 --> 00:55:03,383
He came unprepared
and he would be unreliable.

1273
00:55:03,466 --> 00:55:05,301
I've flown this route before.

1274
00:55:05,802 --> 00:55:07,595
When was that?

1275
00:55:07,679 --> 00:55:09,472
It was…

1276
00:55:09,556 --> 00:55:11,891
…it was on the wings
of a demon.

1277
00:55:11,975 --> 00:55:14,561
Richard was well known,
you know, for

1278
00:55:14,644 --> 00:55:16,021
liking to partake.

1279
00:55:16,104 --> 00:55:17,605
Silencio! Silencio!

1280
00:55:17,689 --> 00:55:19,858
Came on the set
completely sober.

1281
00:55:19,941 --> 00:55:22,402
He invited me to lunch
at that restaurant

1282
00:55:22,485 --> 00:55:23,903
across from Warner Brothers.

1283
00:55:24,237 --> 00:55:25,071
And…

1284
00:55:25,822 --> 00:55:28,116
"I'll have a Tom Collins."

1285
00:55:28,366 --> 00:55:30,785
"I'll have another one
of those Tom Collins'."

1286
00:55:30,869 --> 00:55:32,412
[laughs]

1287
00:55:33,455 --> 00:55:35,623
After lunch,
it was always bad.

1288
00:55:35,707 --> 00:55:36,750
He would come disheveled.

1289
00:55:36,833 --> 00:55:38,585
He didn't match how he looked.

1290
00:55:38,668 --> 00:55:41,921
The grips set up a seat
for me under the lens

1291
00:55:42,005 --> 00:55:45,925
so that I could feed him lines
without throwing his eyeline.

1292
00:55:46,009 --> 00:55:49,012
So he would say to me,
"Give me the first word."

1293
00:55:49,095 --> 00:55:50,096
And I'd say, "I hear."

1294
00:55:50,180 --> 00:55:52,599
He's "no no you don't have to
give me--just the first word."

1295
00:55:52,974 --> 00:55:53,933
"I."

1296
00:55:54,309 --> 00:55:56,436
And then "roll."

1297
00:55:56,519 --> 00:55:58,646
And then he'd stop
after "I hear."

1298
00:55:58,730 --> 00:56:00,106
"What's after ‘hear'?"

1299
00:56:00,190 --> 00:56:05,361
But then around 4 o'clock,
he began to perspire.

1300
00:56:05,445 --> 00:56:08,531
And that's why he had that
6 o'clock rule.

1301
00:56:08,615 --> 00:56:10,867
At 6 o'clock,
it was in his contract,

1302
00:56:10,950 --> 00:56:14,621
whether he was on camera
in the middle of a scene

1303
00:56:14,704 --> 00:56:16,122
or off camera,

1304
00:56:16,206 --> 00:56:20,210
he would just get up and say,
"okay, see you tomorrow!"

1305
00:56:20,293 --> 00:56:21,419
"Good night folks!"

1306
00:56:21,503 --> 00:56:22,462
[door shuts closes]

1307
00:56:22,545 --> 00:56:23,880
And we'd just be left.

1308
00:56:23,963 --> 00:56:26,341
[laughs]

1309
00:56:26,424 --> 00:56:28,426
I saw a lot of things
on that movie

1310
00:56:28,510 --> 00:56:31,763
that I'd never seen before
in my life.

1311
00:56:31,846 --> 00:56:33,681
And that was one of them.

1312
00:56:33,765 --> 00:56:35,391
We've got to fight that demon
that's inside her!

1313
00:56:35,475 --> 00:56:37,811
I felt that in the end,
his performance

1314
00:56:37,894 --> 00:56:39,521
was a bit limited.

1315
00:56:39,604 --> 00:56:42,607
Don't you ever need a woman,
Father?

1316
00:56:44,317 --> 00:56:45,527
Yes.

1317
00:56:49,531 --> 00:56:50,406
So…

1318
00:56:54,702 --> 00:56:55,870
…there we are.

1319
00:56:55,954 --> 00:56:58,498
[both laughing]

1320
00:56:58,581 --> 00:56:59,916
[narrator 1]By the end of the fifth week,

1321
00:56:59,999 --> 00:57:03,002
production had fallen
almost a week behind schedule.

1322
00:57:03,086 --> 00:57:05,463
But Warner Brothers was firm
on the June 17th release date

1323
00:57:05,547 --> 00:57:06,631
of The Heretic

1324
00:57:06,714 --> 00:57:09,467
not only because it was their
big summer release,

1325
00:57:09,551 --> 00:57:12,303
but also because of how
the film was financed

1326
00:57:12,387 --> 00:57:13,972
through a process
called blind bidding.

1327
00:57:14,931 --> 00:57:17,684
With blind bidding,
a studio could present theaters

1328
00:57:17,767 --> 00:57:20,145
with a title, director,
a list of stars,

1329
00:57:20,228 --> 00:57:21,980
and a short description
of the film.

1330
00:57:22,063 --> 00:57:23,606
And if theaters
wanted that film,

1331
00:57:23,690 --> 00:57:25,692
they'd have to pay up front.

1332
00:57:25,775 --> 00:57:27,986
Most of the time, blind bidding
would happen a year

1333
00:57:28,069 --> 00:57:31,072
or more in advance before
the movie was finished,

1334
00:57:31,156 --> 00:57:33,741
and in many cases,
before it was even shot.

1335
00:57:33,825 --> 00:57:37,287
These guarantees effectively
paid for the movie in advance

1336
00:57:37,370 --> 00:57:39,539
and made the studio's
risk on its investment

1337
00:57:39,622 --> 00:57:40,832
basically nil.

1338
00:57:40,915 --> 00:57:43,751
So in 1976, when theater owners
were offered the chance

1339
00:57:43,835 --> 00:57:44,961
to book the sequel

1340
00:57:45,044 --> 00:57:47,463
to one of the highest grossing
movies in history,

1341
00:57:47,547 --> 00:57:49,007
they jumped at the chance.

1342
00:57:49,090 --> 00:57:51,176
Despite steep terms
from the studio

1343
00:57:51,259 --> 00:57:55,263
and an extremely long 12 week
minimum guaranteed run

1344
00:57:55,346 --> 00:57:56,347
in their theaters.

1345
00:57:56,431 --> 00:57:59,350
But The Exorcist had played
on screens in some cases

1346
00:57:59,434 --> 00:58:01,769
for over a year,
and with Linda Blair,

1347
00:58:01,853 --> 00:58:05,398
Richard Burton, Louise Fletcher
and the director of Deliverance,

1348
00:58:05,481 --> 00:58:07,817
it seemed like a very,
very good deal.

1349
00:58:07,901 --> 00:58:10,320
Over 700 theaters booked
The Heretic,

1350
00:58:10,403 --> 00:58:13,573
making it one of the largest
releases in history.

1351
00:58:13,656 --> 00:58:16,701
Warner Brothers' investment
was already paid for.

1352
00:58:16,784 --> 00:58:18,077
All they needed now

1353
00:58:18,161 --> 00:58:21,998
was a film to release
on June 17th, 1977.

1354
00:58:24,959 --> 00:58:27,837
Did Father Merrin
ever name the demon?

1355
00:58:27,921 --> 00:58:30,924
This movie was definitely
the most challenging

1356
00:58:31,007 --> 00:58:34,844
as far as the different sets
we had, the conditions we had,

1357
00:58:34,928 --> 00:58:36,179
the wind blowing.

1358
00:58:37,513 --> 00:58:39,766
They were shooting
on a soundstage

1359
00:58:39,849 --> 00:58:42,477
where they had a lot of earth

1360
00:58:42,560 --> 00:58:45,104
that they brought down
from another place

1361
00:58:45,188 --> 00:58:46,231
in California,

1362
00:58:46,314 --> 00:58:48,316
and they used wind machines.

1363
00:58:49,025 --> 00:58:51,653
And I know that John
was not happy

1364
00:58:51,736 --> 00:58:53,863
with the color of this earth,

1365
00:58:53,947 --> 00:58:55,490
and he had more earth
brought in.

1366
00:58:57,659 --> 00:58:59,702
I remember him sitting
on the back of the crane,

1367
00:58:59,786 --> 00:59:01,704
and yet he had to communicate
with the actors.

1368
00:59:01,788 --> 00:59:04,415
So while we were wearing
masks and goggles,

1369
00:59:04,499 --> 00:59:06,834
he had to take his
mask down a lot.

1370
00:59:07,335 --> 00:59:11,965
John Boorman, he was
the busiest man on that set.

1371
00:59:12,048 --> 00:59:14,592
And I just had terrible,
terrible

1372
00:59:14,676 --> 00:59:17,679
fear that something bad
was going to happen.

1373
00:59:17,762 --> 00:59:20,181
You realize what you're up
against, don't you?

1374
00:59:21,849 --> 00:59:24,394
What am I up against,
father?

1375
00:59:24,477 --> 00:59:25,311
Evil.

1376
00:59:27,689 --> 00:59:29,065
[narrator 1]The pain in Boorman's back

1377
00:59:29,148 --> 00:59:31,567
has been growing steadily
worse all week.

1378
00:59:31,985 --> 00:59:34,153
He has already seen
the Warner Brothers doctor,

1379
00:59:34,237 --> 00:59:35,863
who has prescribed pills,

1380
00:59:35,947 --> 00:59:39,200
and now he lies down in
his bungalow between shots.

1381
00:59:39,534 --> 00:59:41,995
The steroids the Warner
Brothers' doctor prescribed

1382
00:59:42,078 --> 00:59:45,790
can help back pain, but they
weaken the immune system.

1383
00:59:45,873 --> 00:59:47,041
[fireworks crackles]

1384
00:59:47,125 --> 00:59:48,751
[narrator 1]Over the bicentennial weekend,

1385
00:59:48,835 --> 00:59:52,046
John develops an extremely
high fever and a rash

1386
00:59:52,130 --> 00:59:53,673
all over his body.

1387
00:59:53,756 --> 00:59:55,216
He's given a battery of tests,

1388
00:59:55,300 --> 00:59:58,303
but all of the results
come back negative.

1389
01:00:00,346 --> 01:00:02,515
[Boorman]
I went to the UCLA A&E.

1390
01:00:02,598 --> 01:00:04,350
I got such a high temperature

1391
01:00:04,434 --> 01:00:06,769
that I was in hospital
taking ice baths

1392
01:00:06,853 --> 01:00:09,397
to stop my body from exploding.

1393
01:00:09,480 --> 01:00:12,483
From our point of view as crew,
he simply disappeared.

1394
01:00:12,567 --> 01:00:13,318
Oh my God.

1395
01:00:13,401 --> 01:00:16,404
We were terrified
because he was so sick.

1396
01:00:17,405 --> 01:00:19,198
They couldn't figure out
what in the hell

1397
01:00:19,282 --> 01:00:20,825
was the matter with him.

1398
01:00:22,493 --> 01:00:24,704
And that closed
the picture down.

1399
01:00:26,998 --> 01:00:28,624
And it was something
called Valley Fever.

1400
01:00:29,292 --> 01:00:32,253
[Rospo] John got sick because of
all the wind we were blowing

1401
01:00:32,337 --> 01:00:35,298
in the scenes to create Africa.

1402
01:00:35,798 --> 01:00:38,343
[Boorman] Valley Fever,
it lives in sand.

1403
01:00:38,426 --> 01:00:41,429
When you stir up the sand,
it gets into the lungs.

1404
01:00:41,971 --> 01:00:44,891
[Louise] Valley Fever
can attack your organs

1405
01:00:44,974 --> 01:00:48,394
one by one until none
of them are working anymore.

1406
01:00:48,478 --> 01:00:52,565
I remember hearing
how he's even sicker.

1407
01:00:54,400 --> 01:00:56,694
It was something that I think
shook everybody's world.

1408
01:00:56,778 --> 01:01:00,073
We were just all keeping our
fingers crossed tight that

1409
01:01:00,156 --> 01:01:01,240
John was going to be okay.

1410
01:01:02,492 --> 01:01:04,744
That's when people began
to make jokes about

1411
01:01:04,827 --> 01:01:07,038
this movie has a curse on it!

1412
01:01:11,626 --> 01:01:14,337
I am Pazuzu.

1413
01:01:14,420 --> 01:01:16,381
[snarls]

1414
01:01:16,464 --> 01:01:18,841
[Louise] It almost killed him,
this movie.

1415
01:01:18,925 --> 01:01:21,302
We had to shut down
for five weeks.

1416
01:01:22,929 --> 01:01:24,389
Five weeks.

1417
01:01:24,472 --> 01:01:27,058
[takes a deep breath]

1418
01:01:30,269 --> 01:01:31,771
[interviewer 3] What advice
would you give

1419
01:01:31,854 --> 01:01:33,981
up-and-coming filmmakers today?

1420
01:01:34,816 --> 01:01:37,026
Find a better job.

1421
01:01:38,569 --> 01:01:40,988
[narrator 1] Even though the
stoppage is costing a fortune,

1422
01:01:41,072 --> 01:01:43,282
the studio is not considering
hiring another director.

1423
01:01:44,534 --> 01:01:46,828
Contractually, it could have
done so by this time,

1424
01:01:46,911 --> 01:01:49,497
but the film is so big
and so complex

1425
01:01:49,580 --> 01:01:51,457
that there are very
few directors

1426
01:01:51,541 --> 01:01:53,584
with the technical skill
to pull it off.

1427
01:01:54,836 --> 01:01:57,547
There are always signs
that a production

1428
01:01:57,630 --> 01:02:00,633
is entering a period of chaos.

1429
01:02:00,967 --> 01:02:04,637
The thing is, chaos is kind of
part of the recipe.

1430
01:02:05,388 --> 01:02:07,390
So how do you recognize
the difference

1431
01:02:07,473 --> 01:02:10,768
between the normal chaos
of a movie

1432
01:02:10,852 --> 01:02:12,520
and the chaos of a disaster?

1433
01:02:13,563 --> 01:02:14,689
I don't know.

1434
01:02:15,314 --> 01:02:17,358
[narrator 1] Even without the
five week shutdown,

1435
01:02:17,442 --> 01:02:19,652
the original
15 week shooting schedule

1436
01:02:19,735 --> 01:02:21,696
was looking very unrealistic.

1437
01:02:21,779 --> 01:02:25,491
So while he was recuperating
from his near-fatal illness,

1438
01:02:25,575 --> 01:02:28,119
Boorman allowed Pallenberg
to cut and condense

1439
01:02:28,202 --> 01:02:29,454
several scenes.

1440
01:02:29,537 --> 01:02:31,664
But the one section
they worked on the most

1441
01:02:31,747 --> 01:02:33,249
was the ending.

1442
01:02:33,332 --> 01:02:35,001
The whole idea
of alternate endings

1443
01:02:35,084 --> 01:02:37,462
was because of this hiatus.

1444
01:02:37,545 --> 01:02:40,131
And so I just drew up
alternatives.

1445
01:02:40,214 --> 01:02:42,049
I'm gonna write one in which
this person dies.

1446
01:02:42,133 --> 01:02:44,635
I'm gonna write one where--
see what happens.

1447
01:02:44,719 --> 01:02:46,220
See what it gives us.

1448
01:02:46,304 --> 01:02:50,808
Just basically to keep busy
because it was boring.

1449
01:02:53,478 --> 01:02:54,562
Yeah.

1450
01:02:55,480 --> 01:02:58,232
[Bonnie] I met Rospo Pallenberg
probably on day one.

1451
01:02:58,316 --> 01:02:59,650
He hung out at my chair.

1452
01:02:59,734 --> 01:03:01,944
So I sensed that
he was going to be somebody

1453
01:03:02,028 --> 01:03:03,863
that I would be working
with a lot.

1454
01:03:03,946 --> 01:03:05,573
He was the number two guy.

1455
01:03:05,656 --> 01:03:07,575
He was very intense.

1456
01:03:07,658 --> 01:03:09,035
He was a character.

1457
01:03:09,118 --> 01:03:10,536
Absurdly confident.

1458
01:03:10,620 --> 01:03:12,121
The only one who used
to have conversations

1459
01:03:12,205 --> 01:03:14,457
a lot with John was Rospo.

1460
01:03:14,540 --> 01:03:17,710
I didn't know what his title
was when he was on the set,

1461
01:03:17,793 --> 01:03:19,003
except for writer.

1462
01:03:19,086 --> 01:03:20,213
Who are you?

1463
01:03:20,296 --> 01:03:21,589
It was very informal.

1464
01:03:21,672 --> 01:03:24,342
I had the right to go up
to him to talk to him

1465
01:03:24,425 --> 01:03:25,801
whenever I wanted.

1466
01:03:25,885 --> 01:03:28,012
There were no rules.

1467
01:03:28,095 --> 01:03:30,473
I didn't dislike him
instantly,

1468
01:03:30,556 --> 01:03:33,559
but it was shortly after that
that I stopped liking him.

1469
01:03:33,643 --> 01:03:36,145
I don't think Rospo had a lot
of fans from the crew side.

1470
01:03:36,229 --> 01:03:37,563
They all thought Rospo
was a meddler

1471
01:03:37,647 --> 01:03:38,981
that made things more
complicated.

1472
01:03:39,065 --> 01:03:41,984
I don't know you
and I don't like you.

1473
01:03:42,068 --> 01:03:44,195
Most people couldn't figure out
what in the hell

1474
01:03:44,278 --> 01:03:45,780
I was doing there.

1475
01:03:45,863 --> 01:03:46,989
[chuckles]

1476
01:03:47,073 --> 01:03:48,616
Because I didn't have a title.

1477
01:03:48,699 --> 01:03:50,076
I said,…

1478
01:03:50,159 --> 01:03:51,327
"What does your name
stand for?"

1479
01:03:51,410 --> 01:03:52,912
He said, "Look it up!"

1480
01:03:52,995 --> 01:03:54,747
And I went home
and I looked it up

1481
01:03:54,830 --> 01:03:58,292
and "rospo" means "toad."

1482
01:03:59,043 --> 01:04:00,336
Now…

1483
01:04:01,295 --> 01:04:03,756
…tell me,
is that his given name?

1484
01:04:03,839 --> 01:04:05,841
They started making changes
in the script.

1485
01:04:05,925 --> 01:04:08,386
Kind of didn't see this
coming right away.

1486
01:04:08,469 --> 01:04:09,929
That was, yeah, winging it.

1487
01:04:10,012 --> 01:04:12,014
That's what working on
a film is all about.

1488
01:04:12,098 --> 01:04:14,850
Write to the strengths and…

1489
01:04:14,934 --> 01:04:17,270
…disappear a bit
from the weaknesses.

1490
01:04:17,353 --> 01:04:20,147
I know that Rospo had to do
with rewriting the dialogue,

1491
01:04:20,231 --> 01:04:21,357
and of course

1492
01:04:21,440 --> 01:04:23,651
it could only get better,
but instead it would

1493
01:04:23,734 --> 01:04:25,027
sometimes get worse.

1494
01:04:26,404 --> 01:04:29,991
It's about five scripts later,
we were pretty upset.

1495
01:04:30,074 --> 01:04:33,536
I never felt that anybody else
other than John and I

1496
01:04:33,619 --> 01:04:36,038
knew what we were doing,

1497
01:04:36,122 --> 01:04:38,374
and we didn't really care.

1498
01:04:38,958 --> 01:04:40,334
[narrator 1] My dear Louise:

1499
01:04:40,418 --> 01:04:42,795
Since I emerged from
fogs of fever last week

1500
01:04:42,878 --> 01:04:45,715
Rospo and I have been doing
a little work on the script.

1501
01:04:45,798 --> 01:04:48,009
Dear Linda:
During my convalescence

1502
01:04:48,092 --> 01:04:50,469
Rospo and I have been
revising the script a bit--

1503
01:04:51,178 --> 01:04:51,929
Dear Richard:

1504
01:04:52,013 --> 01:04:54,599
Rospo and I have been doing
some revisions to the script

1505
01:04:54,682 --> 01:04:56,475
The film was starting
to run a little long--

1506
01:04:56,559 --> 01:04:58,019
we also have made
the ending much stronger--

1507
01:04:58,102 --> 01:04:59,812
we have been able to
strengthen the ending--

1508
01:04:59,895 --> 01:05:01,272
At that point,
it came like throwing the dice.

1509
01:05:01,355 --> 01:05:03,149
Let's have this person die,
let's have that person die.

1510
01:05:03,232 --> 01:05:04,859
Let's see what happens.

1511
01:05:04,942 --> 01:05:06,027
You know, it was an experiment.

1512
01:05:06,110 --> 01:05:07,278
They just kept rewriting it.

1513
01:05:07,361 --> 01:05:09,905
[narrator 1] Dear Ted: I attach
a revised copy of the script,

1514
01:05:09,989 --> 01:05:11,532
the tenth version, I believe.

1515
01:05:11,616 --> 01:05:13,492
So you've got Warner Brothers,
you've got John Boorman,

1516
01:05:13,576 --> 01:05:15,161
you got this Rospo Pallenberg,

1517
01:05:15,244 --> 01:05:16,829
don't know where he is,
don't know who he is,

1518
01:05:16,912 --> 01:05:17,663
still to this day.

1519
01:05:17,747 --> 01:05:20,958
It had to build up
to something huge.

1520
01:05:21,042 --> 01:05:22,752
[narrator 1] "John and I
came up with an idea

1521
01:05:22,835 --> 01:05:24,629
we have called The Void,"

1522
01:05:24,962 --> 01:05:28,758
A sort of black hole that yawns
under the Georgetown house.

1523
01:05:29,425 --> 01:05:30,843
The void should be dark.

1524
01:05:30,926 --> 01:05:32,386
The walls become rubbery,

1525
01:05:32,470 --> 01:05:36,098
liquid, sliding into a pit,
a very nightmarish feeling.

1526
01:05:36,599 --> 01:05:39,769
We were on a train ride
and we had to deliver.

1527
01:05:41,062 --> 01:05:42,188
The power.

1528
01:05:43,064 --> 01:05:44,482
It's getting nearer.

1529
01:05:44,565 --> 01:05:46,400
[narrator 1] Even with the
expanded ending,

1530
01:05:46,484 --> 01:05:47,777
because of the cuts
in the rewrites,

1531
01:05:47,860 --> 01:05:49,195
when Boorman returns to work,

1532
01:05:49,278 --> 01:05:52,782
the film is nearly back on
schedule and has a new wrap date

1533
01:05:52,865 --> 01:05:53,991
of October 20th.

1534
01:05:54,075 --> 01:05:57,036
When John came back,
he was not quite the same

1535
01:05:57,119 --> 01:05:59,538
force of nature he was
at the beginning of the movie.

1536
01:06:00,539 --> 01:06:01,707
He was thinner.

1537
01:06:01,791 --> 01:06:03,501
You know, he looked like someone
had knocked the starch

1538
01:06:03,584 --> 01:06:04,585
out of him.

1539
01:06:04,960 --> 01:06:07,463
There's a feeling that
some filmmakers

1540
01:06:07,546 --> 01:06:11,217
have to confront
in their careers…

1541
01:06:11,300 --> 01:06:14,303
…with certain films, which is,
is this the movie that kills me?

1542
01:06:15,012 --> 01:06:18,057
[jet engine roars]

1543
01:06:18,140 --> 01:06:20,101
[Boorman] We were shooting up
on the top of--

1544
01:06:20,184 --> 01:06:22,395
it was actually Warner Brothers'
building.

1545
01:06:22,478 --> 01:06:25,439
666 oddly enough,
was the number.

1546
01:06:25,523 --> 01:06:29,110
The shots on top of the Warner
Brothers building in New York

1547
01:06:29,193 --> 01:06:32,238
were some that
I'll never forget.

1548
01:06:33,072 --> 01:06:34,824
Okay, so you're going
to stand on the side,

1549
01:06:34,907 --> 01:06:36,826
there is a net down there,
you know,

1550
01:06:36,909 --> 01:06:38,828
and I'm thinking to myself,

1551
01:06:38,911 --> 01:06:41,914
that's-- that's--
that's the edge of the building.

1552
01:06:43,207 --> 01:06:45,167
I had no safety harness on.

1553
01:06:45,251 --> 01:06:47,545
Underneath, I remember netting

1554
01:06:47,628 --> 01:06:49,380
and that somebody was supposed
to be down there to catch me

1555
01:06:49,463 --> 01:06:50,965
but we were very high up.

1556
01:06:51,048 --> 01:06:54,468
The skyscraper was like,
for real, a very dangerous set.

1557
01:06:54,552 --> 01:06:56,721
I don't remember exactly
how we made it safe.

1558
01:06:56,804 --> 01:06:58,055
I don't think we did.

1559
01:06:58,139 --> 01:07:00,599
It was Linda on her own,
being brave.

1560
01:07:01,058 --> 01:07:02,810
I mean, it was as safe
as is possible,

1561
01:07:02,893 --> 01:07:04,061
but you can look back
and say no,

1562
01:07:04,145 --> 01:07:07,857
if something had happened
or anybody can have anything

1563
01:07:07,940 --> 01:07:09,859
where you just lose
your balance for a minute.

1564
01:07:10,693 --> 01:07:12,611
[screams]

1565
01:07:15,406 --> 01:07:17,992
I'm kind of stunned that
they actually had her do that.

1566
01:07:18,075 --> 01:07:19,076
I mean, they didn't fake that.

1567
01:07:19,160 --> 01:07:20,870
I wouldn't have done it myself.

1568
01:07:21,120 --> 01:07:22,621
[laughs]

1569
01:07:22,705 --> 01:07:26,292
Dangle me off the side
of a fucking building.

1570
01:07:28,544 --> 01:07:29,295
I had a harness on

1571
01:07:29,378 --> 01:07:32,339
because I was walking
backwards in there and--

1572
01:07:32,423 --> 01:07:35,009
and at the end of the day,
I noticed that the end,

1573
01:07:35,092 --> 01:07:37,344
it was supposed to be anchored,
wasn't.

1574
01:07:37,678 --> 01:07:40,681
I didn't have any of the
security that I thought I had.

1575
01:07:41,515 --> 01:07:44,935
I could have flown off that
building very easily

1576
01:07:45,019 --> 01:07:50,024
and landed in the street
37 stories below,

1577
01:07:50,107 --> 01:07:53,527
and I wouldn't have had
to suffer all that…

1578
01:07:53,611 --> 01:07:57,406
…misery of
The Heretic's release.

1579
01:07:57,823 --> 01:07:58,908
[narrator 1]Back in Burbank,

1580
01:07:58,991 --> 01:08:02,161
The film's production issues
kept escalating.

1581
01:08:02,244 --> 01:08:06,040
The Heretic
is my first movie ever.

1582
01:08:06,123 --> 01:08:07,249
[yelling]

1583
01:08:07,333 --> 01:08:09,877
I'm told that a stunt
coordinator

1584
01:08:09,960 --> 01:08:11,295
was coming in to speak to me.

1585
01:08:12,004 --> 01:08:15,007
He says,
"so when we put you on fire,

1586
01:08:15,090 --> 01:08:17,259
we want you to be protected."

1587
01:08:17,343 --> 01:08:18,886
And I'm like…

1588
01:08:21,263 --> 01:08:22,431
…"Yes?"

1589
01:08:23,140 --> 01:08:30,189
He explains that I need to be
wrapped in a asbestos bodysuit.

1590
01:08:30,272 --> 01:08:32,107
"Okay."

1591
01:08:32,191 --> 01:08:34,568
Then I'm walked through the set.

1592
01:08:34,652 --> 01:08:38,614
"So now we are going
to light you on fire, Rose,

1593
01:08:38,697 --> 01:08:42,451
but we're going to put you out
before it gets very high."

1594
01:08:42,535 --> 01:08:45,955
There are six men squatting
with fire extinguishers,

1595
01:08:46,038 --> 01:08:46,956
so "don't worry!"

1596
01:08:47,039 --> 01:08:50,543
"You just tell us
if you get hot."

1597
01:08:52,753 --> 01:08:57,299
And that was when I discovered
that when I panic,

1598
01:08:57,383 --> 01:08:59,385
I cannot make sound.

1599
01:08:59,468 --> 01:09:02,304
Fortunately, someone said:

1600
01:09:02,388 --> 01:09:04,306
"Are you hot?"

1601
01:09:04,390 --> 01:09:05,224
[fire crackles]

1602
01:09:05,307 --> 01:09:07,852
[Rose]
And I got my head to go…

1603
01:09:09,395 --> 01:09:13,607
And six fire extinguishers
go out and I'm put out.

1604
01:09:14,233 --> 01:09:15,651
And then we hear:

1605
01:09:15,734 --> 01:09:17,278
"Who put her out?"

1606
01:09:17,361 --> 01:09:18,821
"Who in God's name?"

1607
01:09:18,904 --> 01:09:20,656
"Fire that son of a bitch!"

1608
01:09:20,739 --> 01:09:22,449
"Who put her out?"

1609
01:09:22,950 --> 01:09:24,535
And I'm like this,

1610
01:09:24,618 --> 01:09:26,078
and I went…

1611
01:09:26,161 --> 01:09:27,288
[whimpers]

1612
01:09:27,371 --> 01:09:30,124
And the very same voice goes,
"I'm sorry, dear.

1613
01:09:30,207 --> 01:09:31,792
What happened?"

1614
01:09:31,876 --> 01:09:33,961
"I got hot."

1615
01:09:35,671 --> 01:09:36,881
Silence.

1616
01:09:36,964 --> 01:09:38,799
Mr. Boorman says…

1617
01:09:40,759 --> 01:09:43,053
…"All right, then, let's get
ready to go again."

1618
01:09:46,515 --> 01:09:48,809
Obviously, we thought we'd get
it on the first day.

1619
01:09:48,893 --> 01:09:51,186
And then I got the call
to come back.

1620
01:09:51,270 --> 01:09:53,022
And then I got the call
to come back.

1621
01:09:53,272 --> 01:09:54,899
And then I got the call
to come back.

1622
01:09:54,982 --> 01:09:57,651
And I'm not really sure
how many times I went back.

1623
01:09:58,027 --> 01:10:00,529
But, but it even shocked
Mr. Burton.

1624
01:10:01,906 --> 01:10:03,449
[Bonnie]
Things were going wrong.

1625
01:10:03,532 --> 01:10:05,784
There were just so many things
that could happen

1626
01:10:05,868 --> 01:10:07,328
on a highly technical set.

1627
01:10:08,162 --> 01:10:09,413
[narrator 1]Boorman walks out of dailies.

1628
01:10:09,496 --> 01:10:11,332
One shot is so dark that
about ten seconds

1629
01:10:11,415 --> 01:10:12,666
are totally black;

1630
01:10:12,750 --> 01:10:14,835
another shot--the only
good take of that shot--

1631
01:10:14,919 --> 01:10:16,003
has a flash on it…

1632
01:10:16,086 --> 01:10:18,047
A painter fell
from the Rock Church set

1633
01:10:18,130 --> 01:10:19,673
Rospo Pallenberg had been
in an accident

1634
01:10:19,757 --> 01:10:21,842
shooting second unit in Africa.

1635
01:10:21,926 --> 01:10:23,093
They were shooting
in a motorboat

1636
01:10:23,177 --> 01:10:26,096
and they hit a sandbar
going 35 miles an hour.

1637
01:10:26,180 --> 01:10:27,848
Pallenberg went through
the windshield,

1638
01:10:27,932 --> 01:10:29,808
cut his wrist to the bone,
and bruised his hip.

1639
01:10:29,892 --> 01:10:32,895
The editor, John Merritt,
quit the movie with no notice

1640
01:10:32,978 --> 01:10:33,896
and went back to London.

1641
01:10:33,979 --> 01:10:36,857
And Kitty Winn fell ill
with a gallbladder infection

1642
01:10:36,941 --> 01:10:39,234
and checked into Cedars Sinai.

1643
01:10:39,318 --> 01:10:41,028
Louise Fletcher sent her
a note that said:

1644
01:10:41,111 --> 01:10:42,821
"There is no Pazuzu."

1645
01:10:43,739 --> 01:10:46,575
I thought, oh my God, you know,
this picture is beset

1646
01:10:46,659 --> 01:10:49,870
with a bunch of
really difficult problems.

1647
01:10:49,954 --> 01:10:51,580
And other things happened.

1648
01:10:51,664 --> 01:10:54,541
[narrator 1] Producer Richard
Lederer has a coronary bypass

1649
01:10:54,625 --> 01:10:56,961
two weeks after being
assigned the film.

1650
01:10:57,044 --> 01:10:59,755
My husband had
open heart surgery.

1651
01:10:59,838 --> 01:11:06,845
Yeah, people got sick and
I blamed it all on the devil.

1652
01:11:07,513 --> 01:11:10,099
People said it was
"Oh, well, you know,

1653
01:11:10,182 --> 01:11:12,059
you-- you're playing around
with evil."

1654
01:11:12,142 --> 01:11:14,853
But to me,
that was all nonsense.

1655
01:11:14,937 --> 01:11:17,940
I never had any feeling
that that was connected.

1656
01:11:22,111 --> 01:11:23,904
[narrator 1] The last two month
was a frenzy of activity

1657
01:11:23,988 --> 01:11:27,449
as cast and crew came together
to finish principal photography

1658
01:11:27,533 --> 01:11:28,742
on The Heretic.

1659
01:11:30,953 --> 01:11:32,246
[indistinct lyrics]

1660
01:11:32,329 --> 01:11:34,039
This is not an official
investigation.

1661
01:11:34,957 --> 01:11:36,291
Father.

1662
01:11:36,375 --> 01:11:37,876
Father.

1663
01:11:37,960 --> 01:11:38,877
Father.

1664
01:11:38,961 --> 01:11:41,171
♪ To think of the reason ♪

1665
01:11:41,255 --> 01:11:42,006
[screams]

1666
01:11:42,089 --> 01:11:45,509
Bill Fraker very cleverly
matched the light

1667
01:11:45,592 --> 01:11:47,928
between the studio
and the location.

1668
01:11:48,012 --> 01:11:49,430
That's very hard to achieve.

1669
01:11:49,513 --> 01:11:52,808
The cliffs were 200 feet high
and we'd have to put cameras

1670
01:11:52,891 --> 01:11:54,768
on the top and shoot down.

1671
01:11:54,852 --> 01:11:55,936
He didn't fall there.

1672
01:11:56,020 --> 01:11:57,646
He bounced on that ledge
and fell there.

1673
01:11:57,730 --> 01:11:59,690
I tell you, that's a shot
I will never forget.

1674
01:12:03,485 --> 01:12:04,987
[Boorman]
It looked extraordinary.

1675
01:12:05,070 --> 01:12:06,613
It didn't look like
any other film.

1676
01:12:06,697 --> 01:12:08,198
♪ I didn't got to use ♪

1677
01:12:08,282 --> 01:12:10,451
(I didn't got to use)

1678
01:12:10,534 --> 01:12:12,703
♪ My imagination ♪

1679
01:12:12,786 --> 01:12:14,913
I had everything going
in my favor.

1680
01:12:14,997 --> 01:12:16,373
♪ * [indistinct lyrics] ♪

1681
01:12:16,457 --> 01:12:20,127
It had its own identity
and its own style and imagery.

1682
01:12:20,210 --> 01:12:23,630
I had a big budget,
lots of facilities,

1683
01:12:23,714 --> 01:12:26,633
and I could make something
special.

1684
01:12:31,055 --> 01:12:33,098
[narrator 1] As they were
heading into the final weeks

1685
01:12:33,182 --> 01:12:33,974
of principal photography.

1686
01:12:34,058 --> 01:12:36,560
Richard Burton informed
the production that

1687
01:12:36,643 --> 01:12:37,519
he must leave for Toronto

1688
01:12:37,603 --> 01:12:40,522
to shoot the film of Equus
on November 1st.

1689
01:12:40,606 --> 01:12:42,775
Boorman announced to his team:

1690
01:12:42,858 --> 01:12:45,110
we can never meet all
the deadlines imposed on us

1691
01:12:45,194 --> 01:12:46,779
if we don't simplify
the ending.

1692
01:12:46,862 --> 01:12:49,156
I decided to eliminate
The Void.

1693
01:12:49,239 --> 01:12:52,242
There was just too much,
too much to attend to.

1694
01:12:53,327 --> 01:12:55,454
[Bonnie] Rospo Pallenberg came
to me when the changes

1695
01:12:55,537 --> 01:12:56,497
came through.

1696
01:12:56,580 --> 01:12:57,998
Said,
"what did you think of them?"

1697
01:12:58,082 --> 01:12:59,541
And I said, "they're awful."

1698
01:13:00,667 --> 01:13:02,669
It's not right.
It's not good.

1699
01:13:02,753 --> 01:13:03,754
It's like a joke.

1700
01:13:03,837 --> 01:13:06,256
We've just slipped into
another whole level

1701
01:13:06,340 --> 01:13:08,092
of people being able
to laugh at this.

1702
01:13:08,550 --> 01:13:11,178
[narrator 1] Warner Brothers
approved an overage of $600,000

1703
01:13:11,261 --> 01:13:13,722
to shoot a new ending
without The Void,

1704
01:13:13,806 --> 01:13:16,642
but it had to wrap
in early November.

1705
01:13:18,435 --> 01:13:22,022
The ending of this film was
the biggest destructive scene

1706
01:13:22,106 --> 01:13:24,358
I think I've ever worked on
in my career.

1707
01:13:25,484 --> 01:13:27,236
The doors fly open.

1708
01:13:29,488 --> 01:13:31,865
They had a stunt person
and yanked him back

1709
01:13:31,949 --> 01:13:33,075
against the wall,

1710
01:13:33,158 --> 01:13:36,495
and then a close up
with locusts on his face.

1711
01:13:36,578 --> 01:13:37,663
His skin was rough.

1712
01:13:37,746 --> 01:13:40,457
I think Richard Burton's face
was a perfect place

1713
01:13:40,541 --> 01:13:41,375
to put locusts.

1714
01:13:44,211 --> 01:13:45,254
[crashes]

1715
01:13:46,505 --> 01:13:49,174
[crashes]

1716
01:13:49,258 --> 01:13:50,467
This movie!

1717
01:13:50,551 --> 01:13:52,094
At least help Regan!

1718
01:13:53,053 --> 01:13:54,054
To do what?

1719
01:13:54,138 --> 01:13:55,514
Did I say "Pazuzu?"

1720
01:13:56,098 --> 01:13:58,809
To fight this thing!

1721
01:13:58,892 --> 01:13:59,852
Name it.

1722
01:13:59,935 --> 01:14:02,146
I think I remember
I had to say it once.

1723
01:14:02,229 --> 01:14:03,063
Pazuzu!

1724
01:14:04,231 --> 01:14:06,817
I'm surprised that I could get
through it and say it

1725
01:14:06,900 --> 01:14:07,818
without laughing.

1726
01:14:07,901 --> 01:14:11,947
Pazuzu's Regan
is the only Regan.

1727
01:14:12,030 --> 01:14:15,033
So they turn me
into this sexy demon.

1728
01:14:16,660 --> 01:14:18,787
Be joined with us, Father.

1729
01:14:18,871 --> 01:14:21,915
The sexy Regan tries
to seduce the priest.

1730
01:14:23,417 --> 01:14:26,044
The windows fly open,
it's like an explosion.

1731
01:14:26,128 --> 01:14:27,004
-[screams]
-[door explodes]

1732
01:14:27,087 --> 01:14:29,381
The set was made to come apart

1733
01:14:29,464 --> 01:14:31,967
and they had to reset it
through all the takes.

1734
01:14:32,509 --> 01:14:34,887
Then, the ground starts
splitting.

1735
01:14:34,970 --> 01:14:36,513
It's moving and tipping

1736
01:14:36,597 --> 01:14:39,016
and kind of like being
at Universal theme park.

1737
01:14:39,600 --> 01:14:41,602
It did take a lot of hours.

1738
01:14:41,685 --> 01:14:44,354
Stunt people used
to fall down stairs.

1739
01:14:44,438 --> 01:14:46,106
There's a lot of dust.
There's a lot of smoke.

1740
01:14:46,190 --> 01:14:48,317
There's a lot of painted peanuts
and cellophane blowing

1741
01:14:48,400 --> 01:14:49,151
through the air.

1742
01:14:49,234 --> 01:14:51,320
[narrator 1] The climactic shot
of the movie involves

1743
01:14:51,403 --> 01:14:55,282
front projection, ghost glass,
wind, smoke, falling debris,

1744
01:14:55,365 --> 01:14:58,827
live locusts, strobing lights
while spinning on a turntable.

1745
01:14:59,077 --> 01:15:00,996
They are throwing friggin'
locusts at me.

1746
01:15:01,079 --> 01:15:02,080
Can't even imagine.

1747
01:15:02,164 --> 01:15:04,124
So of course we were behind
schedule.

1748
01:15:04,208 --> 01:15:06,627
We had to move faster
to get things done.

1749
01:15:06,710 --> 01:15:08,545
There was a rush to finish.

1750
01:15:09,588 --> 01:15:12,090
Will this movie ever end?

1751
01:15:13,175 --> 01:15:14,760
This movie won't die!

1752
01:15:18,889 --> 01:15:21,433
[Father]
The time has come.

1753
01:15:21,516 --> 01:15:23,852
An enemy of the human race…

1754
01:15:26,772 --> 01:15:27,606
…is subdued.

1755
01:15:28,690 --> 01:15:31,276
[voice on TV] And be transmitted
across distance.

1756
01:15:31,360 --> 01:15:34,196
Here he is seen causing
a spoon to bend.

1757
01:15:35,072 --> 01:15:36,615
So we wrapped.

1758
01:15:36,698 --> 01:15:39,201
I went to a dinner party.

1759
01:15:39,284 --> 01:15:41,328
I had the best time.

1760
01:15:41,411 --> 01:15:43,121
I laughed all night.

1761
01:15:43,205 --> 01:15:47,292
At 2 o'clock in the morning,
I woke up with a violent pain

1762
01:15:47,376 --> 01:15:48,585
in my middle.

1763
01:15:48,669 --> 01:15:52,047
Like somebody is
putting a knife through me.

1764
01:15:52,130 --> 01:15:55,008
And I drove myself to Cedars.

1765
01:15:55,092 --> 01:15:57,928
I was in the hospital
a week before they figured out

1766
01:15:58,011 --> 01:16:02,099
that I needed to have
my gallbladder removed.

1767
01:16:03,141 --> 01:16:06,895
[narrator 1] In the hospital,
Kitty Winn sends Louise a note.

1768
01:16:06,979 --> 01:16:12,985
[♪♪♪]

1769
01:16:16,738 --> 01:16:18,115
[narrator 1]Exorcist II: The Heretic

1770
01:16:18,198 --> 01:16:21,618
shot for 89 days,
over 24 weeks.

1771
01:16:21,702 --> 01:16:24,288
Its original budget
of $12.5 million

1772
01:16:24,371 --> 01:16:27,040
had ballooned to almost 15,

1773
01:16:27,124 --> 01:16:29,585
far and away the most
expensive film ever produced

1774
01:16:29,668 --> 01:16:30,877
by Warner Brothers
to that date.

1775
01:16:32,087 --> 01:16:36,008
But the studio was convinced
their gamble would pay off.

1776
01:16:36,091 --> 01:16:38,218
[Boorman]
It was a tough picture to make.

1777
01:16:38,302 --> 01:16:41,805
It certainly achieved some
of the best work I've ever done.

1778
01:16:41,888 --> 01:16:44,057
[narrator 1] And despite Rospo
Pallenberg's request

1779
01:16:44,141 --> 01:16:45,225
for a writing credit,

1780
01:16:45,309 --> 01:16:47,561
the Writer's Guild,
through arbitration,

1781
01:16:47,644 --> 01:16:50,522
awarded William Goodhart
sole writing credit

1782
01:16:50,605 --> 01:16:51,565
on The Heretic.

1783
01:16:53,275 --> 01:16:55,360
Boorman returned
to Ireland to supervise

1784
01:16:55,444 --> 01:16:58,113
the miniature and insert shoots,
as well as the edit.

1785
01:16:59,072 --> 01:17:01,450
It really came down
to working night and day

1786
01:17:01,533 --> 01:17:02,826
on the post-production

1787
01:17:02,909 --> 01:17:06,705
to get the edit and the sound
mix in to make all these prints.

1788
01:17:06,788 --> 01:17:09,166
[narrator 1] In December,
new editor Tom Priestley,

1789
01:17:09,249 --> 01:17:11,626
who had worked with
Boorman on Deliverance,

1790
01:17:11,710 --> 01:17:14,129
presented him
with a two hour and 20 minute

1791
01:17:14,212 --> 01:17:15,797
first rough assembly.

1792
01:17:15,881 --> 01:17:18,800
Boorman remarked,
"there's not an ounce of fat."

1793
01:17:19,301 --> 01:17:20,635
[Boorman] There was quite a lot
to be done.

1794
01:17:20,719 --> 01:17:24,556
And of course, the music
with Ennio Morricone.

1795
01:17:30,062 --> 01:17:31,897
[Stephanie]
Ennio Morricone's score…

1796
01:17:31,980 --> 01:17:33,315
…it's kind of mind blowing.

1797
01:17:39,279 --> 01:17:40,238
It's experimental.

1798
01:17:40,322 --> 01:17:43,200
A lot of it doesn't even
sound like music.

1799
01:17:47,913 --> 01:17:50,624
And there's a lot of locust
wings beating and stuff

1800
01:17:50,707 --> 01:17:53,210
that are kind of folded into
the music that make it

1801
01:17:53,293 --> 01:17:54,920
very disorienting.

1802
01:17:55,712 --> 01:17:59,049
But then,
that beautiful theme kicks in.

1803
01:18:03,845 --> 01:18:06,598
[Boorman] He recorded all
the instruments separately.

1804
01:18:06,681 --> 01:18:09,434
So you had 60 or 70 tracks.

1805
01:18:09,518 --> 01:18:11,728
You could mix it
in all kinds of ways.

1806
01:18:11,812 --> 01:18:13,814
I'd say no, it's too thick,
you know.

1807
01:18:13,897 --> 01:18:15,440
Pull all the strings out.

1808
01:18:15,524 --> 01:18:16,983
Try it without the strings.
You know.

1809
01:18:17,067 --> 01:18:18,985
And it was fantastic.

1810
01:18:19,069 --> 01:18:21,029
Marvelous guy to work with.

1811
01:18:22,239 --> 01:18:24,366
[narrator 1] As editing and
miniature shooting continued

1812
01:18:24,449 --> 01:18:25,242
in Ireland,

1813
01:18:25,325 --> 01:18:28,328
The Warner Brothers' marketing
team was just getting started.

1814
01:18:34,501 --> 01:18:37,254
Originally, I said it should be
called The Heretic

1815
01:18:37,337 --> 01:18:40,549
and should not be referred
to as a sequel.

1816
01:18:40,632 --> 01:18:44,136
But as time got close
to the release,

1817
01:18:44,219 --> 01:18:47,597
Warners insisted
on calling it…

1818
01:18:47,681 --> 01:18:50,642
…Exorcist II: The Heretic.

1819
01:18:52,269 --> 01:18:54,062
My name is Jeff Kanew.

1820
01:18:54,146 --> 01:18:57,065
I directed a number
of movies in the ‘80s

1821
01:18:57,149 --> 01:19:00,152
but in the 60s and 70s,
I was a trailer maker.

1822
01:19:00,235 --> 01:19:01,528
There was one particular year

1823
01:19:01,611 --> 01:19:04,114
where I got to work on
Exorcist II: The Heretic

1824
01:19:04,197 --> 01:19:05,574
and at the same time,

1825
01:19:05,657 --> 01:19:08,118
Sorcerer, which was William
Friedkin's follow up

1826
01:19:08,201 --> 01:19:09,578
to Exorcist one.

1827
01:19:10,036 --> 01:19:13,081
The dialogue stuff
from Exorcist II

1828
01:19:13,165 --> 01:19:16,793
was a little strange and
didn't come out of context well

1829
01:19:16,877 --> 01:19:19,921
like, you know, for a trailer,
but the visuals were great.

1830
01:19:20,714 --> 01:19:21,840
[narrator 4]Four years ago,

1831
01:19:21,923 --> 01:19:24,509
The Exorcist shocked the world.

1832
01:19:24,593 --> 01:19:28,180
Now, the struggle between
good and evil goes on.

1833
01:19:29,723 --> 01:19:32,309
Exorcist II: The Heretic.

1834
01:19:32,392 --> 01:19:34,186
And then,
hard cut to the Morricone.

1835
01:19:34,269 --> 01:19:35,479
[mimics music]

1836
01:19:42,027 --> 01:19:45,113
Lots of fast cuts, no cut
was longer than ten frames.

1837
01:19:45,197 --> 01:19:46,281
[mimics music]

1838
01:19:46,364 --> 01:19:47,574
[Jeff]
That fast coming at you.

1839
01:19:47,657 --> 01:19:49,367
No dialogue for two minutes.

1840
01:19:49,451 --> 01:19:52,913
And it was exciting
and maybe exhausting.

1841
01:19:53,622 --> 01:19:55,624
The music and the visuals
built and built

1842
01:19:55,707 --> 01:19:56,958
and built to a climax.

1843
01:19:57,417 --> 01:19:58,335
And it was good.

1844
01:19:58,418 --> 01:19:59,503
It was a good trailer.

1845
01:19:59,836 --> 01:20:03,298
[narrator 5] In 1974,
he directed The Exorcist.

1846
01:20:03,381 --> 01:20:05,050
It made history.

1847
01:20:05,133 --> 01:20:08,345
Since then, Friedkin has spent
over two years

1848
01:20:08,428 --> 01:20:09,596
in five countries

1849
01:20:09,679 --> 01:20:12,474
on three continents,
creating his latest film.

1850
01:20:12,557 --> 01:20:14,684
Then we cut into
the Tangerine Dream music…

1851
01:20:15,769 --> 01:20:17,562
…and lots of cuts
of Roy Scheider,

1852
01:20:17,646 --> 01:20:19,105
and then this truck
called The Sorcerer,

1853
01:20:19,189 --> 01:20:20,857
which is loaded with explosives.

1854
01:20:20,941 --> 01:20:25,654
And then two minutes
of Tangerine Dream's music.

1855
01:20:26,696 --> 01:20:27,948
[narrator 5]Sorcerer.

1856
01:20:28,031 --> 01:20:28,782
[Jeff]
So that was great.

1857
01:20:28,865 --> 01:20:31,493
I had two good trailers that
were almost identical.

1858
01:20:32,244 --> 01:20:33,370
That's okay.

1859
01:20:33,787 --> 01:20:36,373
Except that they had
their world premiere

1860
01:20:36,456 --> 01:20:39,042
side by side at the
Grauman's Chinese Theater

1861
01:20:39,125 --> 01:20:40,418
the same night,

1862
01:20:40,502 --> 01:20:42,963
with William Friedkin
sitting in the audience.

1863
01:20:45,423 --> 01:20:46,258
Okay.

1864
01:20:46,341 --> 01:20:49,636
I thought probably
they're going to love Sorcerer,

1865
01:20:49,719 --> 01:20:51,680
even though it's just
about four guys in a truck.

1866
01:20:52,806 --> 01:20:54,140
And it didn't work out that way.

1867
01:20:56,268 --> 01:21:00,021
The Exorcist II trailer
played like gangbusters.

1868
01:21:00,480 --> 01:21:02,023
[narrator 5]Sorcerer.

1869
01:21:02,691 --> 01:21:04,192
[audience member coughing]

1870
01:21:04,276 --> 01:21:07,362
And the Sorcerer
was a respectful ho-hum.

1871
01:21:07,654 --> 01:21:10,407
And so William Friedkin
was upset

1872
01:21:10,490 --> 01:21:13,368
and I got this phone call
thinking that it was somebody

1873
01:21:13,451 --> 01:21:15,912
from Universal saying, hey,
the trailer played great,

1874
01:21:15,996 --> 01:21:19,082
but it was "We're taking the
trailer off the screen

1875
01:21:19,165 --> 01:21:21,251
because William Friedkin saw it
and it didn't play as well

1876
01:21:21,334 --> 01:21:23,628
as Exorcist II: The Heretic."

1877
01:21:23,712 --> 01:21:26,131
[church bell gongs]

1878
01:21:26,214 --> 01:21:28,633
[narrator 1] Dialogue looping
would continue through March.

1879
01:21:29,217 --> 01:21:31,219
The score was recorded
in April.

1880
01:21:31,303 --> 01:21:33,054
And the first finished
answer print

1881
01:21:33,138 --> 01:21:36,600
of Exorcist II: The Heretic
was delivered on May 30th,

1882
01:21:36,683 --> 01:21:38,893
just two and a half weeks
before it opened

1883
01:21:38,977 --> 01:21:41,187
on over 700 screens.

1884
01:21:41,271 --> 01:21:44,524
Days before the film opened,
there was one sneak preview

1885
01:21:44,608 --> 01:21:45,692
in Pasadena.

1886
01:21:45,775 --> 01:21:47,986
Exorcist II: The Heretic
was, hands down,

1887
01:21:48,069 --> 01:21:49,946
the craziest film screening
I've ever been to.

1888
01:21:50,030 --> 01:21:53,366
I'm gonna to tell you the story
of the first screening

1889
01:21:53,450 --> 01:21:54,701
of Exorcist II,

1890
01:21:54,784 --> 01:21:57,287
and it was told to me
by an executive

1891
01:21:57,370 --> 01:21:58,288
at Warner Brothers.

1892
01:21:58,371 --> 01:22:00,915
I went with our older friend
named Dave,

1893
01:22:00,999 --> 01:22:03,752
who was like a really
hardcore film fan.

1894
01:22:03,835 --> 01:22:08,048
These Warner Brothers executives
drove out to Pasadena

1895
01:22:08,131 --> 01:22:12,385
in their big limousines,
and they went into the theater

1896
01:22:12,469 --> 01:22:15,347
which was packed,
turn away crowds,

1897
01:22:15,430 --> 01:22:18,308
and they went and sat
in the last row.

1898
01:22:19,184 --> 01:22:22,187
And the lights go down
very slowly.

1899
01:22:22,479 --> 01:22:24,689
Everyone was being respectful,
it was very quiet

1900
01:22:24,773 --> 01:22:28,234
and for the first few scenes
I was drawn into it.

1901
01:22:28,318 --> 01:22:30,737
-[tap dancing]
-[saxophone playing]

1902
01:22:30,820 --> 01:22:33,823
As the film progressed,
I was a little bit confused

1903
01:22:33,907 --> 01:22:36,534
and by the time we got
to the synchronization scene,

1904
01:22:36,618 --> 01:22:38,161
I was totally lost.

1905
01:22:38,244 --> 01:22:42,666
Now, Regan, I want you to relax
and make your tone go deeper.

1906
01:22:42,749 --> 01:22:45,710
I'm wondering, what does it got
to do with the first movie

1907
01:22:45,794 --> 01:22:46,878
that I saw as a kid?

1908
01:22:47,253 --> 01:22:49,923
The theater was really,
really silent.

1909
01:22:50,006 --> 01:22:52,550
Try and remember Father Merrin
just before he died.

1910
01:22:52,634 --> 01:22:55,679
I think there was a sort of
vibe of astonishment

1911
01:22:55,762 --> 01:22:58,390
Was he casting out
the unclean spirit?

1912
01:22:58,473 --> 01:22:59,974
He is praying.

1913
01:23:00,058 --> 01:23:03,645
The vibe changed from
respectful and quiet to…

1914
01:23:03,728 --> 01:23:05,522
[chuckles]

1915
01:23:05,605 --> 01:23:07,482
[Chris]
People were beginning to chuckle

1916
01:23:07,565 --> 01:23:10,360
and they were popping up
all over the theater.

1917
01:23:10,443 --> 01:23:11,361
And I was like:

1918
01:23:11,444 --> 01:23:13,571
this has got to be
a send up.

1919
01:23:14,072 --> 01:23:17,200
This can't possibly be
by design.

1920
01:23:17,283 --> 01:23:19,369
And everyone around me
seems to be having

1921
01:23:19,452 --> 01:23:21,496
the same reaction,…

1922
01:23:21,579 --> 01:23:22,997
…but it hit a crescendo.

1923
01:23:23,081 --> 01:23:24,541
No!

1924
01:23:24,958 --> 01:23:25,959
Always.

1925
01:23:26,042 --> 01:23:28,795
At some point,
my friend Dave, he stands up.

1926
01:23:29,796 --> 01:23:31,172
A guy stood up.

1927
01:23:31,256 --> 01:23:33,425
-[Friedkin] Looks around.
-And he looked around.

1928
01:23:34,467 --> 01:23:36,928
And starts looking for people
who might be associated

1929
01:23:37,011 --> 01:23:37,929
with the film.

1930
01:23:38,430 --> 01:23:40,598
And when he thinks
he's got them spotted,

1931
01:23:40,682 --> 01:23:41,558
he points his arm out…

1932
01:23:41,641 --> 01:23:42,934
-…and says…
-And he said…

1933
01:23:43,018 --> 01:23:45,937
…"the people who made this
piece of shit"…

1934
01:23:46,020 --> 01:23:47,439
…are in this theater!"

1935
01:23:49,607 --> 01:23:51,151
People in the back
of the theater,

1936
01:23:51,234 --> 01:23:53,987
they're moving towards the lobby
and Dave's moving out

1937
01:23:54,070 --> 01:23:55,029
after them.

1938
01:23:55,113 --> 01:23:57,073
The heads of the studio,
they got up,

1939
01:23:57,157 --> 01:23:59,325
they ran out of the theater.

1940
01:23:59,409 --> 01:24:00,952
They get outside.

1941
01:24:01,036 --> 01:24:02,287
No cars!

1942
01:24:02,370 --> 01:24:04,748
The cars are all down
at McDonald's!

1943
01:24:04,831 --> 01:24:07,000
And they were chased down
the street.

1944
01:24:07,083 --> 01:24:10,628
[clamoring]

1945
01:24:10,712 --> 01:24:12,672
[narrator 1] Hundreds of prints
of the film were in the process

1946
01:24:12,756 --> 01:24:15,008
of being struck and shipped.

1947
01:24:15,884 --> 01:24:17,761
The studio was out of time.

1948
01:24:18,136 --> 01:24:21,890
And on Friday, June 17th, 1977,

1949
01:24:21,973 --> 01:24:25,310
Exorcist II: The Heretic
opened.

1950
01:24:32,984 --> 01:24:34,903
[Boorman]
People were lining up to see it.

1951
01:24:34,986 --> 01:24:36,738
It was almost a national event.

1952
01:24:36,821 --> 01:24:40,074
You had this huge
want-to-see quotient.

1953
01:24:40,158 --> 01:24:42,619
The Heretic was a "must-see."

1954
01:24:43,745 --> 01:24:45,413
[Bennett] There's a huge hit
movie, you love it.

1955
01:24:45,497 --> 01:24:46,915
The sequel is being directed by

1956
01:24:46,998 --> 01:24:49,501
a big director,
a famous director.

1957
01:24:49,584 --> 01:24:51,753
You see a trailer for it
and the trailer is unbelievable.

1958
01:24:51,836 --> 01:24:54,214
[narrator 6]It is four years later.

1959
01:24:54,297 --> 01:24:55,965
What does she remember?

1960
01:24:56,049 --> 01:24:57,675
Where will it lead her?

1961
01:24:57,759 --> 01:25:00,303
Exorcist II: The Heretic.

1962
01:25:00,386 --> 01:25:03,473
We wanted to be there,
first show, day it opened,

1963
01:25:03,556 --> 01:25:04,766
and we were.

1964
01:25:04,849 --> 01:25:06,184
We were.

1965
01:25:06,559 --> 01:25:09,187
[Joe] I saw the picture in
Westwood the week it opened.

1966
01:25:09,270 --> 01:25:11,147
There was a tremendous
amount of anticipation.

1967
01:25:11,231 --> 01:25:12,816
[Rose] We are in New York.

1968
01:25:12,899 --> 01:25:14,234
"Come to the opening!"

1969
01:25:14,567 --> 01:25:15,777
[Bennett]
It was a full house.

1970
01:25:15,860 --> 01:25:17,403
Yeah. Sold out.

1971
01:25:18,446 --> 01:25:21,324
There's the titles, you know,
and it begins…

1972
01:25:21,407 --> 01:25:24,410
[indistinct speech]

1973
01:25:25,161 --> 01:25:26,788
I pretty much had one
expression,

1974
01:25:26,871 --> 01:25:29,123
I think, on my face
throughout kind of like…

1975
01:25:29,541 --> 01:25:30,375
[chuckles]

1976
01:25:30,834 --> 01:25:34,337
I think they were kind of
numb…

1977
01:25:34,420 --> 01:25:36,130
…and disappointed.

1978
01:25:36,714 --> 01:25:38,049
There were no spinning heads,

1979
01:25:38,132 --> 01:25:40,552
it wasn't an out-and-out
simple horror movie.

1980
01:25:40,635 --> 01:25:42,762
And I'm like, oh my God.

1981
01:25:42,846 --> 01:25:45,098
-[Bennett] We were in shock.
-Are we really seeing this?

1982
01:25:45,181 --> 01:25:48,560
Did James Earl Jones just spit
a tomato out of his mouth?

1983
01:25:48,643 --> 01:25:49,519
[Bennett]
Yes!

1984
01:25:49,811 --> 01:25:51,938
The problem with the film
I presented to them

1985
01:25:52,021 --> 01:25:55,733
was it wasn't what they had
a right to expect from a sequel.

1986
01:25:55,817 --> 01:25:58,862
We didn't give them more
of the same shock and horror.

1987
01:25:58,945 --> 01:26:01,865
There's a point in a movie,
particularly a horror movie,

1988
01:26:01,948 --> 01:26:05,076
where if you lose the audience,
you won't get them back.

1989
01:26:05,159 --> 01:26:07,287
And the stories start
coming back

1990
01:26:07,370 --> 01:26:08,872
that there's some problems.

1991
01:26:08,955 --> 01:26:10,039
[yelling]

1992
01:26:10,123 --> 01:26:12,083
The audience starts jeering.

1993
01:26:13,251 --> 01:26:14,752
And then they start laughing.

1994
01:26:15,753 --> 01:26:18,214
And my sister in law is like,
oh my God, what's going on?

1995
01:26:19,007 --> 01:26:19,966
[Paul]
It was hard to process.

1996
01:26:20,049 --> 01:26:21,551
It was kind of like
a hallucination.

1997
01:26:21,634 --> 01:26:22,927
It was chaos.
It was a disaster.

1998
01:26:23,011 --> 01:26:23,970
Truly insane.

1999
01:26:24,053 --> 01:26:25,430
Literally booed off the screen.

2000
01:26:25,513 --> 01:26:26,598
What was that?

2001
01:26:26,681 --> 01:26:27,807
People were angry.

2002
01:26:27,891 --> 01:26:29,017
Talking back to the screen.

2003
01:26:29,100 --> 01:26:31,853
There was a palpable sense
of betrayal.

2004
01:26:32,395 --> 01:26:33,605
[Mike]
Audiences hate this film.

2005
01:26:33,688 --> 01:26:35,189
They are demanding refunds.

2006
01:26:35,273 --> 01:26:36,774
They're throwing popcorn
at the screen.

2007
01:26:36,858 --> 01:26:38,151
They're throwing things
in the aisle.

2008
01:26:38,234 --> 01:26:40,778
They hate this movie.

2009
01:26:41,404 --> 01:26:43,907
My dad and I took seats
in the middle of the audience

2010
01:26:43,990 --> 01:26:47,076
because we just wanted to be
in the thick of it.

2011
01:26:47,160 --> 01:26:49,579
A few people started laughing

2012
01:26:49,662 --> 01:26:51,164
and it just built.

2013
01:26:51,831 --> 01:26:53,958
Why is she tap dancing?
Why is she walking off the roof?

2014
01:26:54,042 --> 01:26:55,210
What's going on?

2015
01:26:56,461 --> 01:26:57,503
Afterward on the way out,

2016
01:26:57,587 --> 01:26:59,172
it's one of the rare movies
that I've had

2017
01:26:59,255 --> 01:27:01,799
where telling people on line,
"don't go in."

2018
01:27:02,050 --> 01:27:03,509
[narrator 1]And when the reviews came out,

2019
01:27:03,593 --> 01:27:05,345
they were among the most
devastating

2020
01:27:05,428 --> 01:27:08,431
of any major studio film
in Hollywood history.

2021
01:27:08,765 --> 01:27:11,601
I was very disappointed that
the film was received

2022
01:27:11,684 --> 01:27:12,435
the way it was,

2023
01:27:12,518 --> 01:27:16,022
because I just viscerally
knew what had gone into it

2024
01:27:16,105 --> 01:27:20,401
and how much effort and seeing
John Boorman every day,…

2025
01:27:21,277 --> 01:27:22,820
…how much it meant to him.

2026
01:27:22,904 --> 01:27:25,031
I saw it in a theater
full of people that

2027
01:27:25,114 --> 01:27:26,616
commenced laughing at it.

2028
01:27:26,699 --> 01:27:30,828
They were yelling, talking out
loud, you know, laughing.

2029
01:27:31,955 --> 01:27:32,956
It was…

2030
01:27:33,039 --> 01:27:34,332
…it was hard.

2031
01:27:35,416 --> 01:27:38,586
No, no, I didn't want to.

2032
01:27:39,087 --> 01:27:41,673
I mean, it devastated
all of us, I think.

2033
01:27:41,756 --> 01:27:44,050
There are so many people
who would have adapted it in

2034
01:27:44,133 --> 01:27:47,553
a more conventional sequel way,

2035
01:27:47,637 --> 01:27:50,765
and this didn't go anywhere
near that.

2036
01:27:50,848 --> 01:27:53,434
The direction it went
in was almost surreal.

2037
01:27:53,518 --> 01:27:57,689
It was not almost!
It was absolutely surreal!

2038
01:27:58,106 --> 01:28:00,358
[narrator 1] John Simon of New
York Magazine wrote:

2039
01:28:00,441 --> 01:28:03,277
"There is a very strong
probability that Exorcist II

2040
01:28:03,361 --> 01:28:04,529
is the stupidest
major movie ever made."

2041
01:28:05,989 --> 01:28:07,782
That it was considered dumb

2042
01:28:07,865 --> 01:28:12,245
when in fact it was
so over-intellectualized

2043
01:28:12,328 --> 01:28:14,080
is one of the tragedies,
I think, of it.

2044
01:28:14,163 --> 01:28:17,000
[narrator 1] And Gene Siskel
of the Chicago Tribune wrote:

2045
01:28:17,083 --> 01:28:19,961
"Exorcist II is the worst
major motion picture I've seen

2046
01:28:20,044 --> 01:28:22,005
in almost eight years
on the job."

2047
01:28:22,797 --> 01:28:26,634
[Boorman] The audiences expected
more of the same

2048
01:28:26,718 --> 01:28:28,511
and I wasn't giving it to them.

2049
01:28:30,013 --> 01:28:31,723
It wasn't a sequel.

2050
01:28:32,598 --> 01:28:36,686
It was a riposte,
an answer to The Exorcist.

2051
01:28:37,020 --> 01:28:38,813
It wasn't what they were
expecting,

2052
01:28:38,896 --> 01:28:40,023
which was a horror film.

2053
01:28:40,565 --> 01:28:41,983
It didn't fit.

2054
01:28:42,066 --> 01:28:44,444
Here was a sequel
which wasn't a sequel.

2055
01:28:45,028 --> 01:28:48,698
Blatty, the author of the book,
disowned it.

2056
01:28:48,990 --> 01:28:51,034
There was a riot in Westwood.

2057
01:28:51,659 --> 01:28:53,619
They were deeply disappointed.

2058
01:28:53,703 --> 01:28:56,164
I mean, they threw things
at the screen.

2059
01:28:56,247 --> 01:28:58,291
They demanded their money back.

2060
01:28:58,374 --> 01:29:01,044
People felt utterly cheated,
angry,

2061
01:29:01,127 --> 01:29:05,590
and all that anger and
bitterness was directed at me.

2062
01:29:05,673 --> 01:29:08,009
I made a film about goodness.

2063
01:29:08,092 --> 01:29:09,886
And that was a film about evil.

2064
01:29:17,060 --> 01:29:18,853
I did my part.

2065
01:29:24,484 --> 01:29:26,944
[narrator 1] Exorcist II: The
Heretic opened huge,

2066
01:29:27,028 --> 01:29:28,613
breaking studio records.

2067
01:29:28,696 --> 01:29:30,865
But the dropoff
from its negative word-of-mouth

2068
01:29:30,948 --> 01:29:32,116
was so severe,

2069
01:29:32,200 --> 01:29:35,078
the film came in second to
the undersea thriller The Deep

2070
01:29:35,161 --> 01:29:36,913
in its opening weekend.

2071
01:29:36,996 --> 01:29:38,873
To try to make it
more palatable,

2072
01:29:38,956 --> 01:29:40,041
what we did

2073
01:29:40,124 --> 01:29:42,752
it was a mistake, really,
but, make some cuts.

2074
01:29:42,835 --> 01:29:45,338
[narrator 1] Using edge code
numbers from his own print

2075
01:29:45,421 --> 01:29:46,172
in Ireland,

2076
01:29:46,255 --> 01:29:48,674
Boorman had the studio edit out
the happy ending

2077
01:29:48,758 --> 01:29:51,469
and send a new, truncated
final reel to theaters.

2078
01:29:51,552 --> 01:29:54,305
Warner Brothers informed
irate theater owners

2079
01:29:54,388 --> 01:29:56,224
they were shipping out
a new ending

2080
01:29:56,307 --> 01:29:57,225
as soon as possible.

2081
01:29:57,308 --> 01:29:58,893
It was a harrowing time.

2082
01:29:59,352 --> 01:30:01,104
[narrator 1] On Tuesday,
June 21st,

2083
01:30:01,187 --> 01:30:02,730
Boorman was back in Los Angeles

2084
01:30:02,814 --> 01:30:05,399
watching the film with an
audience for the first time.

2085
01:30:05,483 --> 01:30:08,903
Pazuzu, Prince of the
Evil Spirits of the Air,

2086
01:30:08,986 --> 01:30:10,530
Take me to Kokumo!

2087
01:30:10,613 --> 01:30:11,405
[audience laughing]

2088
01:30:11,489 --> 01:30:12,532
[woman 3]
Kokumo.

2089
01:30:12,615 --> 01:30:14,909
I spent a lot of time
with John Boorman

2090
01:30:14,992 --> 01:30:16,369
in the aftermath of the opening,

2091
01:30:16,452 --> 01:30:18,704
when he was desperately
recutting the film.

2092
01:30:18,788 --> 01:30:20,540
The poor man
was really distraught

2093
01:30:20,623 --> 01:30:21,791
with the audience reaction.

2094
01:30:21,874 --> 01:30:23,501
He was saying,
"I've got to cut this scene out!

2095
01:30:23,584 --> 01:30:24,710
I got to cut this scene out!"

2096
01:30:25,253 --> 01:30:26,754
[narrator 1] The mystery of who
cut the ending

2097
01:30:26,838 --> 01:30:28,422
of "Exorcist II: The Heretic"

2098
01:30:28,506 --> 01:30:31,342
was solved yesterday when
director John Boorman said

2099
01:30:31,425 --> 01:30:32,718
it was his decision.

2100
01:30:32,802 --> 01:30:35,555
Furthermore, Boorman says he
is doing "extensive" recutting

2101
01:30:35,638 --> 01:30:36,931
on the rest of the film.

2102
01:30:37,223 --> 01:30:38,933
[Joseph] There's this wild beast
out there,

2103
01:30:39,016 --> 01:30:40,101
which is the audience.

2104
01:30:40,184 --> 01:30:42,311
I created this arena
and I just didn't throw

2105
01:30:42,395 --> 01:30:43,688
enough Christians to it.

2106
01:30:43,771 --> 01:30:44,939
The film is about goodness.

2107
01:30:45,022 --> 01:30:48,484
It just doesn't deliver the gore
and the evil spectacle that

2108
01:30:48,568 --> 01:30:49,402
the first one delivered.

2109
01:30:49,485 --> 01:30:51,988
It's poetic. It's visionary.

2110
01:30:52,071 --> 01:30:53,823
It's a dreamlike film.

2111
01:30:53,906 --> 01:30:57,493
But that's not what audiences
in 1977 wanted to see at all.

2112
01:30:58,244 --> 01:30:59,287
[narrator 1] Five days later,

2113
01:30:59,370 --> 01:31:00,830
Boorman switches the print
at the Village

2114
01:31:00,913 --> 01:31:03,749
for a new version of the film
that's seven minutes shorter,

2115
01:31:03,833 --> 01:31:05,543
with a new beginning
and a new ending

2116
01:31:05,626 --> 01:31:07,503
with Burton's character dying.

2117
01:31:07,837 --> 01:31:09,422
But I am not worthy!

2118
01:31:09,505 --> 01:31:11,507
You are a soldier of Christ.

2119
01:31:11,799 --> 01:31:13,718
You must make yourself worthy.

2120
01:31:13,801 --> 01:31:15,261
[Joseph]
Ted Ashley was there.

2121
01:31:15,344 --> 01:31:16,470
Calley was there.

2122
01:31:16,554 --> 01:31:17,305
Boorman, Lederer.

2123
01:31:17,388 --> 01:31:18,806
It was very dramatic.

2124
01:31:19,098 --> 01:31:21,100
We went back
and saw it a week later.

2125
01:31:21,434 --> 01:31:23,561
[Paul] A lot of moments that
we had found funny

2126
01:31:23,644 --> 01:31:25,354
during the first time were gone.

2127
01:31:25,438 --> 01:31:26,314
[Bennett]
Were snipped.

2128
01:31:26,397 --> 01:31:28,232
Get going!
The girl has to get home!

2129
01:31:28,316 --> 01:31:29,942
Boorman had re-edited the ending

2130
01:31:30,026 --> 01:31:33,487
so Richard Burton disappears
during the destruction

2131
01:31:33,571 --> 01:31:34,405
of the house.

2132
01:31:34,488 --> 01:31:35,990
[Paul] It was a different film
experience.

2133
01:31:36,073 --> 01:31:38,367
It wasn't great,
but it certainly didn't play

2134
01:31:38,451 --> 01:31:40,578
as an unintentionally
funny film anymore.

2135
01:31:40,661 --> 01:31:42,663
-It was just strange.
-[Bennett] Odd.

2136
01:31:43,164 --> 01:31:45,458
[Joseph]
It actually went pretty well.

2137
01:31:45,541 --> 01:31:46,959
Some people even applauded.

2138
01:31:47,251 --> 01:31:49,253
Boorman, Calley
and Ashley and Lederer.

2139
01:31:49,337 --> 01:31:51,881
I remember seeing them
huddled in the lobby afterwards.

2140
01:31:51,964 --> 01:31:54,258
They were all shell shocked
and they didn't know what to do.

2141
01:31:55,092 --> 01:31:58,387
Boorman was trying to persuade
them to take his cut version

2142
01:31:58,471 --> 01:32:00,473
and put that domestically.

2143
01:32:01,557 --> 01:32:03,476
But that would have cost
X amount of money

2144
01:32:03,559 --> 01:32:04,977
to make new prints.

2145
01:32:10,233 --> 01:32:11,984
But the word of mouth
was getting around.

2146
01:32:12,318 --> 01:32:13,819
[narrator 1]In its second weekend,

2147
01:32:13,903 --> 01:32:17,114
Exorcist II dropped
a disastrous 57%.

2148
01:32:17,198 --> 01:32:18,741
The theaters
were freaking out because

2149
01:32:18,824 --> 01:32:20,618
they were going to lose
a fortune on this film.

2150
01:32:20,701 --> 01:32:26,707
[♪♪♪]

2151
01:32:35,007 --> 01:32:37,468
[Paul] I vividly remember
seeing, on the news,…

2152
01:32:37,551 --> 01:32:39,553
-David Sheehan.
-David Sheehan, that's right.

2153
01:32:39,637 --> 01:32:41,347
interviewing John Boorman.

2154
01:32:41,430 --> 01:32:42,348
Towards the end
of the interview,

2155
01:32:42,431 --> 01:32:45,101
Boorman got fed up and
he turned and he said to him,

2156
01:32:45,184 --> 01:32:46,852
"What would you like me to do?"

2157
01:32:46,936 --> 01:32:50,439
"Immolate myself on Hollywood
Boulevard?"

2158
01:32:52,525 --> 01:32:55,444
[Rospo] I was shocked
by what happened to John.

2159
01:32:55,528 --> 01:32:57,571
Just what happens
to a great filmmaker

2160
01:32:57,655 --> 01:33:00,408
when it all collapses under you?

2161
01:33:02,743 --> 01:33:05,204
My heart went out to him.
Totally went out to him.

2162
01:33:05,871 --> 01:33:09,000
Every single person on all
the movies I worked on

2163
01:33:09,083 --> 01:33:10,960
did it with all their heart.

2164
01:33:11,043 --> 01:33:12,878
They loved making these movies.

2165
01:33:12,962 --> 01:33:13,796
I did too.

2166
01:33:13,879 --> 01:33:16,799
I was proud of my job
and proud of my work.

2167
01:33:17,758 --> 01:33:19,885
Nobody was out
to make anything but

2168
01:33:19,969 --> 01:33:22,513
a great sequel to a great film.

2169
01:33:23,389 --> 01:33:25,766
My heart and soul
went into this movie.

2170
01:33:25,850 --> 01:33:27,101
It broke all of our hearts.

2171
01:33:27,184 --> 01:33:30,187
I think I'm safe to say
it broke my heart.

2172
01:33:30,980 --> 01:33:33,482
[Rospo]
We were probably too daring.

2173
01:33:33,566 --> 01:33:37,403
Maybe we had committed
the sin of hubris.

2174
01:33:40,531 --> 01:33:43,326
It was a mistake for me.

2175
01:33:43,409 --> 01:33:46,120
A mistake in terms
of the audience.

2176
01:33:46,203 --> 01:33:48,998
I should have known better that
an audience would feel

2177
01:33:49,081 --> 01:33:51,375
frustrated by The Heretic.

2178
01:33:52,960 --> 01:33:55,421
It was shattering for me.

2179
01:33:55,504 --> 01:33:58,507
I--I lost my nerve.

2180
01:33:58,799 --> 01:34:02,053
I felt that
what I'd done with the film

2181
01:34:02,136 --> 01:34:05,348
was of high quality,

2182
01:34:05,431 --> 01:34:10,353
and that I'd made it
with heart and soul,

2183
01:34:10,436 --> 01:34:15,191
and that it could be so,
so rejected

2184
01:34:15,274 --> 01:34:17,234
was extremely painful.

2185
01:34:21,238 --> 01:34:24,033
[narrator 1] Boorman continued
to recut the film.

2186
01:34:24,283 --> 01:34:28,579
By the time of its European
premiere in September of 1977,

2187
01:34:28,662 --> 01:34:31,624
there were about
125 alterations,

2188
01:34:31,707 --> 01:34:34,543
and the runtime
was 16 minutes shorter.

2189
01:34:34,627 --> 01:34:37,421
Warner Brothers released
theaters from their 12 week

2190
01:34:37,505 --> 01:34:39,924
minimum run obligations,

2191
01:34:40,007 --> 01:34:42,760
and even before
its European release,

2192
01:34:42,843 --> 01:34:44,762
Exorcist II: The Heretic
had ended

2193
01:34:44,845 --> 01:34:47,264
its North American
theatrical run.

2194
01:34:54,063 --> 01:34:56,565
[interviewer 3]
What is success for a filmmaker?

2195
01:34:58,484 --> 01:35:00,111
This is an impossible question.

2196
01:35:00,694 --> 01:35:04,657
Success for a filmmaker
is whether or not,

2197
01:35:04,740 --> 01:35:06,158
for the most part,

2198
01:35:06,242 --> 01:35:09,620
the story that existed
in your head and in your heart

2199
01:35:09,703 --> 01:35:11,247
made it to the screen.

2200
01:35:12,540 --> 01:35:15,543
So what is failure
for a filmmaker?

2201
01:35:16,585 --> 01:35:19,588
There are way more answers
to that question.

2202
01:35:22,842 --> 01:35:23,884
[narrator 1]One after another,

2203
01:35:23,968 --> 01:35:26,429
celebrated filmmakers
from the 70s

2204
01:35:26,512 --> 01:35:30,015
were given enormous budgets
to realize their visions,

2205
01:35:30,683 --> 01:35:33,686
and one after another,
they failed.

2206
01:35:34,395 --> 01:35:37,440
Even Francis Ford Coppola's
epic Apocalypse Now,

2207
01:35:37,523 --> 01:35:39,608
which was a box office hit,

2208
01:35:39,692 --> 01:35:42,528
barely broke even due
to its immense cost overruns.

2209
01:35:43,195 --> 01:35:47,366
And in 1980, Heaven's Gate,
Michael Cimino's western epic,

2210
01:35:47,450 --> 01:35:50,494
which was initially budgeted
at $7.5 million

2211
01:35:50,578 --> 01:35:54,540
and ended up costing
the studio over $44 million,

2212
01:35:54,623 --> 01:35:56,375
all but destroyed
United Artists.

2213
01:35:56,625 --> 01:35:58,294
Exorcist II
was one of those movies,

2214
01:35:58,377 --> 01:36:00,754
along with Heaven's Gate,
a few others that probably

2215
01:36:00,838 --> 01:36:02,798
put an end to a certain era.

2216
01:36:02,882 --> 01:36:04,341
[Victor] I'm not one of those
people that says

2217
01:36:04,425 --> 01:36:05,968
the good old days
were always better.

2218
01:36:06,051 --> 01:36:08,095
But I will say that there was
more of a willingness to take

2219
01:36:08,179 --> 01:36:09,180
risk back then.

2220
01:36:09,638 --> 01:36:11,765
Part of art is taking risks.

2221
01:36:12,141 --> 01:36:16,228
Perhaps studios will realize
that the focus groups

2222
01:36:16,312 --> 01:36:18,939
and the market testing
and the algorithms

2223
01:36:19,023 --> 01:36:22,526
aren't predictive
of audiences real desires,

2224
01:36:22,610 --> 01:36:25,404
and that perhaps the solution
to that is to empower

2225
01:36:25,488 --> 01:36:26,697
the filmmaker.

2226
01:36:29,283 --> 01:36:31,994
It was a marvelous time
for great films

2227
01:36:32,077 --> 01:36:35,372
and for great attempts,
you might say.

2228
01:36:36,081 --> 01:36:39,043
[narrator 1] But one film
from the summer of 1977

2229
01:36:39,126 --> 01:36:40,169
did not fail.

2230
01:36:44,173 --> 01:36:47,468
Star Wars just cost
$11 million,

2231
01:36:47,551 --> 01:36:50,346
and it ended up redefining
the Hollywood studio movie.

2232
01:36:50,804 --> 01:36:53,098
It changed everything,
Star Wars.

2233
01:36:53,682 --> 01:36:54,517
Changed everything.

2234
01:36:54,600 --> 01:36:57,144
I'd forgotten how much
I hate space travel.

2235
01:36:57,228 --> 01:37:00,481
To me, I always felt
it was kid stuff, you know,

2236
01:37:00,564 --> 01:37:02,066
it wasn't serious cinema,

2237
01:37:02,149 --> 01:37:04,777
but it turned out to be
what people wanted,

2238
01:37:04,860 --> 01:37:05,903
particularly young people.

2239
01:37:05,986 --> 01:37:07,780
And they're still making
them aren't they?

2240
01:37:07,863 --> 01:37:08,864
[laughs]

2241
01:37:09,740 --> 01:37:11,826
[narrator 1] In the next few
years, several states

2242
01:37:11,909 --> 01:37:14,286
passed legislation making
the practice

2243
01:37:14,370 --> 01:37:16,455
of blind bidding illegal.

2244
01:37:16,539 --> 01:37:18,707
One of the movies they often
used as an example

2245
01:37:18,791 --> 01:37:22,795
of being misled by studios
was Exorcist II: The Heretic

2246
01:37:22,878 --> 01:37:26,799
A movie so hated,
it inspired legislation.

2247
01:37:33,639 --> 01:37:38,519
Well, see, he was ambitious
to do something so…

2248
01:37:40,854 --> 01:37:42,773
[Boorman]
I almost gave up filmmaking

2249
01:37:42,856 --> 01:37:44,400
and it took me
a couple of years.

2250
01:37:45,693 --> 01:37:50,322
Talking to you about it
and how it was made,

2251
01:37:50,406 --> 01:37:53,367
and there's an element
of pain in that,

2252
01:37:53,450 --> 01:37:57,871
because it was such a painful
experience to have that work

2253
01:37:57,955 --> 01:38:00,291
rejected so completely,

2254
01:38:00,374 --> 01:38:02,793
and it almost destroyed
my career,

2255
01:38:02,876 --> 01:38:04,962
and so when we talk about it,

2256
01:38:05,045 --> 01:38:09,717
I remember the pain
and I remember the scars.

2257
01:38:10,384 --> 01:38:12,219
I suppose to a large extent

2258
01:38:12,303 --> 01:38:14,221
I've tried
not to think about it.

2259
01:38:14,305 --> 01:38:17,850
But we're now, you know,
talking of, what, 50 years ago,

2260
01:38:17,933 --> 01:38:20,811
there's is a line in Excalibur
where Lancelot says

2261
01:38:20,894 --> 01:38:25,524
"It's the old wound.
It's never properly healed."

2262
01:38:26,483 --> 01:38:30,571
And so that's true of me
and The Heretic.

2263
01:38:32,906 --> 01:38:35,659
[interviewer 3] And the obvious
question, I guess, is,

2264
01:38:35,743 --> 01:38:36,869
do you regret it?

2265
01:38:41,707 --> 01:38:45,294
Well, when it came out
and was…

2266
01:38:45,377 --> 01:38:48,380
…was such a failure,

2267
01:38:48,964 --> 01:38:50,633
Yes. At that time,
I did regret it.

2268
01:38:50,716 --> 01:38:53,719
I thought, oh, well,
I'd made a mistake.

2269
01:38:55,220 --> 01:38:59,058
Because I'd had the opportunity
and the budget to make a film

2270
01:38:59,141 --> 01:39:03,228
that was very, I thought, very
powerful and beautiful,

2271
01:39:03,312 --> 01:39:05,397
but in the wrong context.

2272
01:39:05,481 --> 01:39:09,360
Had that film been released
as separate from The Exorcist,

2273
01:39:09,443 --> 01:39:12,738
I think it might have had
a very different reception.

2274
01:39:13,364 --> 01:39:16,450
But it was linked to it
and that was a mistake.

2275
01:39:16,533 --> 01:39:21,330
And so the all the great work
that we put into The Heretic

2276
01:39:21,413 --> 01:39:22,998
was lost, really.

2277
01:39:25,125 --> 01:39:28,879
My attitude changed
after The Heretic.

2278
01:39:29,421 --> 01:39:34,593
I became probably more
respectful of the audience.

2279
01:39:36,136 --> 01:39:39,056
The films I'd made
before The Heretic,

2280
01:39:39,139 --> 01:39:41,016
I had no thought
of the audience.

2281
01:39:41,100 --> 01:39:43,143
You know, "who are you
making it for?"

2282
01:39:43,227 --> 01:39:44,978
was often the question
asked and I thought,

2283
01:39:45,062 --> 01:39:48,565
oh, I never had
to think about that.

2284
01:39:48,649 --> 01:39:50,651
I'm making it to please myself.

2285
01:39:52,152 --> 01:39:54,238
You know, I remember
David Lean saying to me

2286
01:39:54,321 --> 01:39:56,573
"Make your pictures
please yourself.

2287
01:39:56,657 --> 01:39:59,284
And if they don't please
an audience,

2288
01:39:59,368 --> 01:40:00,494
give up."

2289
01:40:01,578 --> 01:40:04,748
So I had to ask myself
the question

2290
01:40:04,832 --> 01:40:08,794
whether, you know, I should
take David Lean's advice

2291
01:40:08,877 --> 01:40:10,963
and not go on making them.

2292
01:40:15,050 --> 01:40:16,009
And then, of course,

2293
01:40:16,093 --> 01:40:19,638
after my fallow period
there for a couple of years,

2294
01:40:19,722 --> 01:40:22,099
I launched into Excalibur.

2295
01:40:22,975 --> 01:40:24,685
[narrator 1]After the success of Star Wars,

2296
01:40:24,768 --> 01:40:28,564
studios were looking for mythic
tales with iconic heroes.

2297
01:40:28,647 --> 01:40:30,566
And John Boorman had one.

2298
01:40:31,066 --> 01:40:33,485
Once I started shooting it,
I felt I was falling into

2299
01:40:33,569 --> 01:40:34,361
the same trap.

2300
01:40:34,445 --> 01:40:35,821
[screams]

2301
01:40:35,904 --> 01:40:38,282
I'd made these two failures

2302
01:40:38,365 --> 01:40:42,536
and here I was making another
bold and foolish venture.

2303
01:40:42,619 --> 01:40:43,537
Ride!

2304
01:40:44,705 --> 01:40:45,581
[Boorman]
It was huge.

2305
01:40:45,664 --> 01:40:49,501
I mean, you had horses
and armor and lots of extras,

2306
01:40:49,585 --> 01:40:52,004
and there were times I lay
in bed at night thinking

2307
01:40:52,087 --> 01:40:53,255
I've done it again.

2308
01:40:53,338 --> 01:40:54,256
This is going to fail.

2309
01:40:55,090 --> 01:40:56,633
It was a huge struggle.

2310
01:40:56,717 --> 01:40:59,386
So I was, if you like,
not learning my lessons.

2311
01:41:00,929 --> 01:41:03,515
Perhaps it says
something about me,

2312
01:41:03,599 --> 01:41:05,434
about my recklessness.

2313
01:41:09,146 --> 01:41:11,023
With Excalibur,
I just about pulled it off.

2314
01:41:15,068 --> 01:41:16,945
That restored my confidence.

2315
01:41:17,029 --> 01:41:19,156
And I thought, well,
maybe I've got another couple

2316
01:41:19,239 --> 01:41:20,949
of pictures in me somewhere.

2317
01:41:21,033 --> 01:41:22,284
And I went on.

2318
01:41:24,828 --> 01:41:26,580
You know, so many films fail.

2319
01:41:26,663 --> 01:41:31,376
You know, endless reasons
why a film doesn't succeed.

2320
01:41:31,794 --> 01:41:36,006
But somehow, a few do and
that's what keeps us all going.

2321
01:41:36,715 --> 01:41:38,592
[interviewer 3]
Sounds somewhat masochistic.

2322
01:41:38,967 --> 01:41:40,052
Yeah.

2323
01:41:41,929 --> 01:41:44,223
[interviewer 3] But you're not
a masochist, are you?

2324
01:41:44,306 --> 01:41:45,432
I suppose I must be,
you know

2325
01:41:45,516 --> 01:41:47,851
otherwise I wouldn't
be making movies.

2326
01:41:50,229 --> 01:41:51,730
[narrator 1] In 2022,

2327
01:41:51,814 --> 01:41:54,233
Sir John Boorman
received a knighthood

2328
01:41:54,316 --> 01:41:56,276
for his contributions to cinema.

2329
01:41:57,069 --> 01:41:59,696
He is regarded by many as one
of the greatest directors

2330
01:41:59,780 --> 01:42:01,573
of all time.

2331
01:42:01,657 --> 01:42:03,575
But even after hearing
all the stories

2332
01:42:03,659 --> 01:42:05,577
about this one movie
in his career

2333
01:42:05,661 --> 01:42:07,538
that nearly destroyed him,

2334
01:42:07,621 --> 01:42:09,581
There's one question

2335
01:42:09,665 --> 01:42:11,667
I've never been able
to fully answer.

2336
01:42:15,838 --> 01:42:18,507
Exorcist II: The Heretic…

2337
01:42:18,590 --> 01:42:20,843
…is a fascinating film.

2338
01:42:21,426 --> 01:42:23,095
[Simon] It could have been
a great movie.

2339
01:42:23,178 --> 01:42:24,763
It is not a great movie.

2340
01:42:24,847 --> 01:42:30,143
Exorcist II: The Heretic
is a great movie.

2341
01:42:30,227 --> 01:42:33,814
I don't think it's a good movie,
but I think, it was…

2342
01:42:35,691 --> 01:42:37,067
…it was a--

2343
01:42:37,818 --> 01:42:39,027
Good effort.

2344
01:42:39,111 --> 01:42:42,114
I think it's just a great film,
a masterpiece.

2345
01:42:42,489 --> 01:42:44,491
It works on every level.

2346
01:42:45,200 --> 01:42:48,704
I love seeing a film
that is a work of visual poetry,

2347
01:42:48,787 --> 01:42:50,289
but there's an emotion to it.

2348
01:42:50,372 --> 01:42:52,624
Profound emotion radiates
through every frame

2349
01:42:52,708 --> 01:42:53,584
of that film.

2350
01:42:54,042 --> 01:42:56,295
There was wildness to it.

2351
01:42:56,378 --> 01:42:58,088
There was ambition to it.

2352
01:42:58,881 --> 01:43:00,507
[Joe]
I would call it a brave movie.

2353
01:43:00,591 --> 01:43:03,468
Is it a perfect movie?
Certainly not.

2354
01:43:03,552 --> 01:43:06,555
Is it a movie that works
with an audience? No.

2355
01:43:06,847 --> 01:43:11,018
Is it artistic
and accomplished and…

2356
01:43:11,101 --> 01:43:13,520
…and like being
in someone's dream?

2357
01:43:13,604 --> 01:43:14,771
Yeah.

2358
01:43:15,856 --> 01:43:18,233
He was putting some
terrific ideas

2359
01:43:18,317 --> 01:43:21,612
on the screen in a way that
is truly art,

2360
01:43:21,695 --> 01:43:23,447
whether it connects or not.

2361
01:43:24,948 --> 01:43:27,618
[Boorman] It was full of little
grace notes.

2362
01:43:27,701 --> 01:43:29,870
And I think you could look
at that film more than once

2363
01:43:29,953 --> 01:43:31,663
and you could find
other things in it.

2364
01:43:31,747 --> 01:43:34,041
And so it was rich.

2365
01:43:34,750 --> 01:43:36,543
I think that's how
I've described it.

2366
01:43:36,627 --> 01:43:38,795
It had a richness about it.

2367
01:43:39,588 --> 01:43:42,507
[interviewer 3] What made
working on The Heretic special?

2368
01:43:42,591 --> 01:43:43,592
John.

2369
01:43:44,801 --> 01:43:45,886
Working with John.

2370
01:43:47,179 --> 01:43:48,221
Well, I love directors.

2371
01:43:48,305 --> 01:43:49,598
You know, if they're good.

2372
01:43:49,681 --> 01:43:52,184
And he was a special director.

2373
01:43:52,809 --> 01:43:56,063
[Melissa] It was an incredible
gift to be able to work

2374
01:43:56,146 --> 01:43:57,105
with John Boorman.

2375
01:43:57,189 --> 01:44:01,860
It was one of the greatest
experiences of my career.

2376
01:44:01,944 --> 01:44:03,320
It was brilliant.

2377
01:44:08,367 --> 01:44:10,285
Regret's a bad word.

2378
01:44:10,369 --> 01:44:11,995
It's a bad word.

2379
01:44:12,829 --> 01:44:16,333
Everybody in life has a journey.

2380
01:44:17,084 --> 01:44:20,420
Whether you know where
it's going to go sideways,

2381
01:44:20,504 --> 01:44:23,423
up, down, round about,
you do not know.

2382
01:44:23,507 --> 01:44:26,551
You will make a choice
and you live with that.

2383
01:44:27,511 --> 01:44:29,096
Regret it?

2384
01:44:29,179 --> 01:44:31,682
No, I got to work
with Richard Burton.

2385
01:44:34,393 --> 01:44:36,979
[Louise]
I have no regrets in my career.

2386
01:44:37,062 --> 01:44:41,483
The bad movies,
the good movies, the rejection.

2387
01:44:42,109 --> 01:44:46,738
It's just like one great
big spaghetti dinner.

2388
01:44:46,822 --> 01:44:48,865
[laughs]

2389
01:44:48,949 --> 01:44:51,910
I loved it, every bit of it.

2390
01:44:52,452 --> 01:44:56,123
Lots of pain, lots of pleasure.

2391
01:44:58,166 --> 01:45:00,627
All goes together.

2392
01:45:05,841 --> 01:45:07,426
[Boorman]
I miss filmmaking.

2393
01:45:07,509 --> 01:45:10,012
On the other hand,
I'm 85.

2394
01:45:10,095 --> 01:45:13,223
Maybe it would be foolish
of me to do another one.

2395
01:45:13,682 --> 01:45:15,559
-[interviewer 3] You think?
-Yeah.

2396
01:45:15,892 --> 01:45:17,894
[interviewer 3] I would love to
see another John Boorman film.

2397
01:45:17,978 --> 01:45:19,271
Okay, I'll do one.

2398
01:45:19,354 --> 01:45:20,814
[both laugh]

2399
01:45:25,318 --> 01:45:27,112
[Simon]
He's a real creative genius.

2400
01:45:27,195 --> 01:45:28,530
Even if they were
on a tiny budget,

2401
01:45:28,613 --> 01:45:31,533
he'd be working on something
that we'd never seen before.

2402
01:45:32,409 --> 01:45:35,412
He was just innovating
and playing.

2403
01:45:36,371 --> 01:45:38,623
I have this theory that
everyone has at least

2404
01:45:38,707 --> 01:45:41,418
one John Boorman film
that they love.

2405
01:45:42,753 --> 01:45:46,465
The older I get,
the more I value

2406
01:45:46,548 --> 01:45:49,843
people who just go for stuff.

2407
01:45:50,761 --> 01:45:52,888
[Stephanie]
I am much more engaged

2408
01:45:52,971 --> 01:45:56,433
by a flawed work
of imagination

2409
01:45:56,516 --> 01:46:00,645
than I am by something designed
to give an audience

2410
01:46:00,729 --> 01:46:02,898
more of what it got last time.

2411
01:46:02,981 --> 01:46:07,486
And I feel grateful that
there's somebody

2412
01:46:07,569 --> 01:46:09,446
who would just put these
things out there.

2413
01:46:09,529 --> 01:46:12,157
Like, I want to put
Sean Connery in a man-kini.

2414
01:46:12,574 --> 01:46:13,450
Who would--you know--

2415
01:46:13,533 --> 01:46:15,577
how many people
in the universe would do that?

2416
01:46:15,660 --> 01:46:17,245
Apparently, there's only one.

2417
01:46:19,247 --> 01:46:20,499
My family,

2418
01:46:20,582 --> 01:46:23,752
my seven children
and the films I made

2419
01:46:23,835 --> 01:46:27,422
are the most important
things of my life.

2420
01:46:31,426 --> 01:46:32,594
I've often felt

2421
01:46:32,677 --> 01:46:35,680
that I've been braver
in my filmmaking

2422
01:46:35,764 --> 01:46:38,141
and more cowardly in my life.

2423
01:46:40,227 --> 01:46:43,855
Perhaps there's only so much
bravery you can muster

2424
01:46:43,939 --> 01:46:46,233
and I put mine into the films.

2425
01:46:46,316 --> 01:46:52,322
[♪♪♪]

2426
01:47:00,372 --> 01:47:01,706
I love to play.

2427
01:47:01,790 --> 01:47:02,749
[cheering]

2428
01:47:02,833 --> 01:47:05,460
And in all the stresses
of filmmaking,

2429
01:47:05,544 --> 01:47:08,630
you can lose the joy of play.

2430
01:47:11,883 --> 01:47:12,926
Regan?

2431
01:47:13,343 --> 01:47:14,302
I'm sorry.

2432
01:47:14,386 --> 01:47:17,305
[sobs]

2433
01:47:17,556 --> 01:47:19,599
I understand now.

2434
01:47:20,350 --> 01:47:22,018
The world won't.

2435
01:47:23,311 --> 01:47:24,813
Not yet.

2436
01:47:26,064 --> 01:47:30,277
It seems to be in my nature
to try and explore

2437
01:47:30,360 --> 01:47:34,823
and go deeper
and try to make my films…

2438
01:47:34,906 --> 01:47:36,408
…messages…

2439
01:47:36,491 --> 01:47:39,411
…of hope and sharing the
experience of life.

2440
01:47:41,496 --> 01:47:45,000
I think that my failure
is probably to be

2441
01:47:45,083 --> 01:47:47,169
over-ambitious
in the films I've made.

2442
01:47:47,252 --> 01:47:50,255
I'm always trying
a bit too hard.

2443
01:47:51,298 --> 01:47:56,303
Whereas so many great
filmmakers like Antonioni

2444
01:47:58,388 --> 01:48:00,307
Bergman.

2445
01:48:01,433 --> 01:48:02,976
Hitchcock.

2446
01:48:05,020 --> 01:48:06,479
Billy Wilder.

2447
01:48:08,064 --> 01:48:09,774
David Lean.

2448
01:48:10,901 --> 01:48:12,611
Powell and Pressburger.

2449
01:48:14,738 --> 01:48:16,114
Stanley.

2450
01:48:17,866 --> 01:48:19,075
Fellini.

2451
01:48:19,701 --> 01:48:23,288
Even 8 1/2,
where he was trying to express

2452
01:48:23,371 --> 01:48:26,917
all these elements and trying
to hold them together

2453
01:48:27,000 --> 01:48:29,002
into a work of harmony.

2454
01:48:29,377 --> 01:48:32,672
Turning money
into light into spirit.

2455
01:48:41,473 --> 01:48:44,684
I think the great filmmakers
have that ability.

2456
01:48:48,230 --> 01:48:52,400
To turn film into spirit.

2457
01:48:53,485 --> 01:48:55,195
[interviewer 3]
Are you one?

2458
01:48:56,321 --> 01:48:57,948
I've tried to be.

2459
01:48:58,031 --> 01:49:04,037
[♪♪♪]

2460
01:49:14,047 --> 01:49:20,053
[♪♪♪]

2461
01:49:29,062 --> 01:49:35,068
[♪♪♪]

2462
01:49:44,077 --> 01:49:50,083
[♪♪♪]

2463
01:49:59,092 --> 01:50:05,098
[♪♪♪]

2464
01:50:14,107 --> 01:50:20,113
[♪♪♪]

2465
01:50:29,122 --> 01:50:35,128
[♪♪♪]

2466
01:50:44,137 --> 01:50:50,143
[♪♪♪]

2467
01:50:59,152 --> 01:51:05,158
[♪♪♪]

2468
01:51:14,167 --> 01:51:20,173
[♪♪♪]

2469
01:51:29,182 --> 01:51:35,188
[♪♪♪]

2470
01:51:44,197 --> 01:51:50,203
[♪♪♪]