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Friedkin: The word "possesses"
possesses more S's
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than any other word possesses.
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This is Bill Friedkin,
day one, take one.
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00:00:43,833 --> 00:00:53,875
♪♪
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00:00:53,875 --> 00:01:03,875
♪♪
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00:01:03,875 --> 00:01:13,875
♪♪
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♪♪
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♪♪
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Everything has to do with
the mystery of fate or faith.
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And "The Exorcist" is about
the mystery of faith.
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The only film
that influenced me
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in the making of "The Exorcist"
was Dreyer's film "Ordet."
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There were no films about
possession that I knew about.
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There were no religious films
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that weren't really sappy
at the time,
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00:02:00,500 --> 00:02:05,791
like "The Ten Commandments"
was largely spectacle.
17
00:02:05,791 --> 00:02:10,625
"Ordet" is a simple,
elegant film.
18
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It's so beautifully staged
and photographed,
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00:02:14,375 --> 00:02:19,250
and it contains
elegant simplicity to show
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00:02:19,250 --> 00:02:24,125
what amounts to literal
resurrection in the film.
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I can't watch it
without bursting into tears.
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You totally believe it.
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00:02:30,375 --> 00:02:34,291
There is no question
that this is happening.
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It's not a cinematic trick.
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00:02:37,708 --> 00:02:41,166
I asked "The Exorcist" audience
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to believe in
what they were seeing.
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[Wind whistling]
28
00:02:45,958 --> 00:02:49,583
I'm a strong believer in fate,
that it's very difficult
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for anyone to control
their own destiny.
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You can do certain things,
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00:02:55,458 --> 00:03:01,375
but in many ways,
I think biology is destiny.
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00:03:01,375 --> 00:03:03,958
I don't know how I ever got
into the film business
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00:03:03,958 --> 00:03:06,208
coming from where I came from.
34
00:03:06,208 --> 00:03:09,375
I lived in a one-room apartment
in Chicago
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with my mother and father.
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00:03:11,041 --> 00:03:13,041
My mother took me --
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I don't know how old I was,
7 years old, maybe --
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to a movie theater
called the Pantheon,
39
00:03:21,500 --> 00:03:24,041
which was on Sheridan Road
in Chicago.
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00:03:24,041 --> 00:03:27,458
We go in this large place,
a lot of people around.
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00:03:27,458 --> 00:03:28,708
I don't know
what they're doing there.
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00:03:28,708 --> 00:03:30,125
I don't know
what's gonna happen.
43
00:03:30,125 --> 00:03:34,375
All of a sudden,
the lights went down.
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00:03:34,375 --> 00:03:38,083
The lights went
to complete darkness,
45
00:03:38,083 --> 00:03:41,666
and I heard what
turned out to be the parting
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of a gigantic set of curtains,
47
00:03:45,000 --> 00:03:48,666
and then a light appeared
on a screen
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with some titles on it,
and I screamed.
49
00:03:51,583 --> 00:03:56,666
It was sheer terror
of the process.
50
00:03:56,666 --> 00:04:00,208
I think it was a film called
"None but the Lonely Heart"
51
00:04:00,208 --> 00:04:04,000
with Cary Grant,
a Clifford Odets story.
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00:04:04,000 --> 00:04:07,666
♪♪
53
00:04:07,666 --> 00:04:10,416
Love me, son?
54
00:04:10,416 --> 00:04:12,708
Disgraced you.
Disgraced you.
55
00:04:12,708 --> 00:04:14,083
Disgraced me, ma?
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00:04:14,083 --> 00:04:16,500
No, ma, no,
didn't disgrace me.
57
00:04:16,500 --> 00:04:18,708
This is your son
Ernie Mott,
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00:04:18,708 --> 00:04:21,916
the boy who needs you,
loves you, wants you.
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00:04:21,916 --> 00:04:24,708
I was in my 20s,
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00:04:24,708 --> 00:04:27,875
and I was working first
in the mailroom
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00:04:27,875 --> 00:04:30,041
at a television station
in Chicago
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00:04:30,041 --> 00:04:32,208
right out of high school.
I never went to college.
63
00:04:32,208 --> 00:04:35,500
A friend of mine
casually mentioned
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00:04:35,500 --> 00:04:40,125
there's a movie playing
at a theater called the Surf.
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00:04:40,125 --> 00:04:41,875
"What is it?" "'Citizen Kane.'"
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00:04:41,875 --> 00:04:44,458
And I went to the noon show,
67
00:04:44,458 --> 00:04:47,875
and I stayed there
for the rest of the day.
68
00:04:47,875 --> 00:04:50,291
And I was just flabbergasted.
69
00:04:50,291 --> 00:04:55,208
When I left the theater
around after midnight,
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00:04:55,208 --> 00:04:59,583
I thought,
"I have no idea what this is,
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00:04:59,583 --> 00:05:02,708
but that's what
I'd like to do."
72
00:05:02,708 --> 00:05:04,500
Charles?
73
00:05:04,500 --> 00:05:06,750
Yes, Mommy?
74
00:05:08,250 --> 00:05:11,333
Mr. Thatcher is going to take
you on a trip with him tonight.
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00:05:11,333 --> 00:05:14,833
Friedkin: "Citizen Kane" is
about the mystery of fate
76
00:05:14,833 --> 00:05:19,583
and how fate took this little
boy away from a poor cabin.
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00:05:19,583 --> 00:05:23,291
And because his mother was left
a worthless deed
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00:05:23,291 --> 00:05:25,208
to the Colorado Lode,
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00:05:25,208 --> 00:05:27,916
he became the richest man
in America.
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00:05:27,916 --> 00:05:30,500
♪♪
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00:05:30,500 --> 00:05:33,833
This was an act of fate.
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00:05:33,833 --> 00:05:40,166
The meaning of "rosebud"
is the biblical idea
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00:05:40,166 --> 00:05:43,083
of what shall it profit a man
84
00:05:43,083 --> 00:05:47,041
if he should gain
the whole world...
85
00:05:47,041 --> 00:05:49,083
But lose his own soul?
86
00:05:49,083 --> 00:05:53,916
The "rosebud" moment is profound
and in a class by itself.
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00:05:53,916 --> 00:05:56,958
Kubrick did it in "The Killing."
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00:05:56,958 --> 00:06:02,750
The great expense of stealing
all this racetrack money
89
00:06:02,750 --> 00:06:05,916
and $2 million
floats up into the air.
90
00:06:05,916 --> 00:06:08,583
That's a great
"rosebud" moment,
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00:06:08,583 --> 00:06:12,541
as is the moment in "The
Treasure of the Sierra Madre"
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00:06:12,541 --> 00:06:16,583
when all of the gold bags
are cut open by the bandits
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00:06:16,583 --> 00:06:20,000
who steal them because
they think they're water.
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00:06:20,541 --> 00:06:23,916
[Laughing]
95
00:06:27,625 --> 00:06:32,750
[Laughing]
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00:06:32,750 --> 00:06:37,375
Friedkin: It's an underlying
statement about the futility,
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00:06:37,375 --> 00:06:40,666
the futility of everything.
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00:06:40,666 --> 00:06:43,000
Throw that junk in.
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00:06:43,000 --> 00:06:47,541
♪♪
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00:06:47,541 --> 00:06:53,000
Friedkin: And this incredible
idea of a lost pure...
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00:06:53,000 --> 00:06:56,625
love is burned up.
102
00:06:56,625 --> 00:07:02,625
What a profound statement,
and what an incredible idea.
103
00:07:02,625 --> 00:07:04,416
♪♪
104
00:07:04,416 --> 00:07:05,791
Fr. Karras: And there's not
a day in my life
105
00:07:05,791 --> 00:07:07,083
that I don't feel
like a fraud.
106
00:07:07,083 --> 00:07:08,333
I mean, priests,
doctor, lawyers --
107
00:07:08,333 --> 00:07:10,166
I've talked
to them all.
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00:07:10,166 --> 00:07:15,041
There's serendipity connected
with all of the films I made.
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00:07:15,041 --> 00:07:18,333
♪♪
110
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But nothing like "The Exorcist."
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00:07:22,000 --> 00:07:28,041
I feel to this day as though
there were forces beyond me
112
00:07:28,041 --> 00:07:32,833
that brought things
to that movie like offerings.
113
00:07:32,833 --> 00:07:34,791
The whole picture
was put together
114
00:07:34,791 --> 00:07:39,416
by the movie god,
from Blatty sending me the novel
115
00:07:39,416 --> 00:07:42,166
after we had not seen each other
for years.
116
00:07:42,166 --> 00:07:46,666
The studio didn't want me
to direct the film initially.
117
00:07:46,666 --> 00:07:48,875
I went on to win
the Academy Award,
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00:07:48,875 --> 00:07:50,875
which was a longshot.
119
00:07:50,875 --> 00:07:54,125
I wasn't even a member
of the Academy.
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All of it.
121
00:07:55,416 --> 00:07:57,625
Man:
It's fate.
122
00:07:57,625 --> 00:07:59,583
Yeah, fate.
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00:07:59,583 --> 00:08:04,000
I only can make a film if
I can see it in my mind's eye,
124
00:08:04,000 --> 00:08:06,291
and in a very short time,
125
00:08:06,291 --> 00:08:11,583
the whole film popped into
my head from his novel.
126
00:08:11,583 --> 00:08:14,458
I knew exactly
how I wanted to make it,
127
00:08:14,458 --> 00:08:16,500
what I wanted to keep
from his book,
128
00:08:16,500 --> 00:08:18,083
what I wanted to leave out.
129
00:08:18,083 --> 00:08:21,875
I didn't want any backstory,
no flashbacks,
130
00:08:21,875 --> 00:08:24,250
just a straight-ahead story
131
00:08:24,250 --> 00:08:27,458
that was done
as realistically as possible.
132
00:08:27,458 --> 00:08:30,333
After I was finally hired
to direct the film,
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00:08:30,333 --> 00:08:35,333
Blatty came to me with
a little envelope, and he said,
134
00:08:35,333 --> 00:08:37,375
"I've got a surprise for you.
135
00:08:37,375 --> 00:08:39,291
I've written the script."
136
00:08:39,291 --> 00:08:41,708
I didn't know that.
He gave me the script.
137
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It was about this thick.
138
00:08:43,916 --> 00:08:48,333
♪♪
139
00:08:48,333 --> 00:08:52,708
I felt it was a travesty
of his novel,
140
00:08:52,708 --> 00:08:54,833
and I told him that.
141
00:08:54,833 --> 00:08:58,958
It had flashbacks,
it had red herrings.
142
00:08:58,958 --> 00:09:02,708
I said, "Bill, this --
your script is not the book.
143
00:09:02,708 --> 00:09:05,041
I really want
to shoot the novel."
144
00:09:05,041 --> 00:09:11,708
So I marked up my own copy
of the hardcover,
145
00:09:11,708 --> 00:09:13,541
the first edition.
146
00:09:13,541 --> 00:09:16,375
I mark things in, out, in, out.
147
00:09:16,375 --> 00:09:17,916
I cross things out.
148
00:09:17,916 --> 00:09:20,875
Go from this sequence to that.
149
00:09:20,875 --> 00:09:23,500
I literally marked it up
so that mostly,
150
00:09:23,500 --> 00:09:26,583
he could see what I wanted
to keep from the novel
151
00:09:26,583 --> 00:09:28,583
and what I felt we didn't need.
152
00:09:28,583 --> 00:09:30,541
Blatty had omitted the prologue
153
00:09:30,541 --> 00:09:32,708
in the first draft
of his script,
154
00:09:32,708 --> 00:09:37,166
and I told him his worst enemy
would not have...
155
00:09:37,166 --> 00:09:38,666
done this to him.
156
00:09:38,666 --> 00:09:41,750
Everyone,
including his publisher, said,
157
00:09:41,750 --> 00:09:43,541
"You don't need this prologue."
158
00:09:43,541 --> 00:09:44,958
They didn't understand it.
159
00:09:44,958 --> 00:09:51,250
I said,
"Bill, we have to open in Iraq."
160
00:09:51,250 --> 00:09:54,833
That opening chapter...
161
00:09:54,833 --> 00:09:58,000
that started my skin crawling
when I read it,
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and I didn't know why.
163
00:09:59,958 --> 00:10:02,458
I'm sure a lot of people
to this day are puzzled,
164
00:10:02,458 --> 00:10:04,458
"What the hell is that?"
165
00:10:04,458 --> 00:10:09,208
But it is the introduction,
and the -- to me,
166
00:10:09,208 --> 00:10:12,666
the very solid underpinning
for the whole piece.
167
00:10:12,666 --> 00:10:15,166
We got permission to go.
168
00:10:15,166 --> 00:10:18,125
I knew basically
where I wanted to go,
169
00:10:18,125 --> 00:10:19,708
which was in northern Iraq,
170
00:10:19,708 --> 00:10:22,166
the little town
where we wound up filming,
171
00:10:22,166 --> 00:10:24,333
which is Nineveh in the Bible.
172
00:10:24,333 --> 00:10:29,416
It's called al-Hatra,
or al-Hadr, H-A-D-R,
173
00:10:29,416 --> 00:10:31,291
to the Iraqis.
174
00:10:31,291 --> 00:10:33,708
There happened to be
a German archeologist
175
00:10:33,708 --> 00:10:35,875
working there
with a German crew
176
00:10:35,875 --> 00:10:39,250
and Iraqis
that were doing a dig there,
177
00:10:39,250 --> 00:10:43,875
and I met with him and asked him
if we could film this actual dig
178
00:10:43,875 --> 00:10:48,750
and have Max von Sydow walking
around while it was going on.
179
00:10:48,750 --> 00:10:50,625
And so that's what we did.
180
00:10:50,625 --> 00:10:52,666
It was an actual dig,
181
00:10:52,666 --> 00:10:55,250
and the stuff
they were coming up with
182
00:10:55,250 --> 00:10:59,333
were the severed heads
of statues
183
00:10:59,333 --> 00:11:06,458
because it turned out that
at some point before Christ,
184
00:11:06,458 --> 00:11:12,666
the city of Hadr had been
sacked by the Sasanians,
185
00:11:12,666 --> 00:11:16,500
I believe it's 80 B.C.
186
00:11:16,500 --> 00:11:19,875
They cut off the heads
of everybody living there,
187
00:11:19,875 --> 00:11:22,500
and they cut off
the heads of the statues.
188
00:11:22,500 --> 00:11:26,916
And this is what the archeology
team was coming up with,
189
00:11:26,916 --> 00:11:30,625
along with other artifacts,
which I show in the film.
190
00:11:30,625 --> 00:11:33,125
[High-pitched music playing]
191
00:11:33,125 --> 00:11:38,291
Jack Nitzsche rubbed his hand
over a wine glass,
192
00:11:38,291 --> 00:11:41,625
and that makes the opening sound
of "The Exorcist."
193
00:11:41,625 --> 00:11:46,500
And then it segues from that to
something we recorded in Mosul,
194
00:11:46,500 --> 00:11:51,125
which is the muezzin's
call to prayer in Arabic.
195
00:11:51,125 --> 00:11:56,625
The words "Allahu Akbar,
Allahu Akbar,"
196
00:11:56,625 --> 00:12:00,166
"God is good" in Arabic.
197
00:12:00,166 --> 00:12:02,625
"God is great."
198
00:12:02,625 --> 00:12:05,958
Those are the first words
of the film,
199
00:12:05,958 --> 00:12:10,250
the first words in
Blatty's novel, northern Iraq.
200
00:12:10,250 --> 00:12:11,916
That's where it took place.
201
00:12:11,916 --> 00:12:15,875
You couldn't go out into
the Mojave Desert and shoot it.
202
00:12:15,875 --> 00:12:19,416
There was no CGI in those days.
203
00:12:19,416 --> 00:12:21,875
You had to go there.
204
00:12:21,875 --> 00:12:24,916
There's one side angle
that I made especially
205
00:12:24,916 --> 00:12:29,500
because in the background of
von Sydow, not too far away,
206
00:12:29,500 --> 00:12:34,000
is the tomb
of King Nebuchadnezzar,
207
00:12:34,000 --> 00:12:38,000
which is built on top of
the tomb of the prophet David.
208
00:12:38,000 --> 00:12:39,541
That's where we were.
209
00:12:39,541 --> 00:12:42,583
The movie opens
with a bright sun.
210
00:12:42,583 --> 00:12:45,958
When we got into
the color-timing room,
211
00:12:45,958 --> 00:12:50,166
I decided to open the film
with a black and white sun
212
00:12:50,166 --> 00:12:52,541
that slowly bleeds into color.
213
00:12:52,541 --> 00:12:54,125
I don't think
214
00:12:54,125 --> 00:12:58,750
there's any conscious meaning
behind my choices.
215
00:12:58,750 --> 00:13:03,041
These are instinctive things
that don't...
216
00:13:03,041 --> 00:13:05,083
translate into a how.
217
00:13:05,083 --> 00:13:09,791
It looks like, in retrospect,
I knew what I was doing,
218
00:13:09,791 --> 00:13:12,041
but I was just
following my instinct.
219
00:13:12,041 --> 00:13:14,208
And I believe
that's what happened
220
00:13:14,208 --> 00:13:17,625
throughout the entire film.
221
00:13:17,625 --> 00:13:20,916
This is from Bill Blatty's novel
"The Exorcist."
222
00:13:20,916 --> 00:13:22,250
It's the beginning.
223
00:13:22,250 --> 00:13:24,958
"The blaze
of sun wrung pops of sweat
224
00:13:24,958 --> 00:13:27,083
from the old man's brow.
225
00:13:27,083 --> 00:13:29,375
He kept his hands
around the glass of hot,
226
00:13:29,375 --> 00:13:31,958
sweet tea as if to warm them.
227
00:13:31,958 --> 00:13:35,000
He could not shake
the premonition.
228
00:13:35,000 --> 00:13:39,833
It clung to his back
like chill wet leaves."
229
00:13:39,833 --> 00:13:44,416
So that paragraph is about
one word -- "premonition."
230
00:13:44,416 --> 00:13:47,458
And so he looks around,
and he sees various things
231
00:13:47,458 --> 00:13:49,791
that add to the premonition --
232
00:13:49,791 --> 00:13:53,833
blacksmiths who are pounding,
bending steel,
233
00:13:53,833 --> 00:13:55,583
and one of them turns
and looks at him
234
00:13:55,583 --> 00:13:58,416
and has an eye missing,
235
00:13:58,416 --> 00:14:03,291
similar to the way the demon
looks when she's levitating.
236
00:14:07,458 --> 00:14:11,666
And a lot of people think
that it foreshadows something.
237
00:14:11,666 --> 00:14:15,625
I had no intention
of foreshadowing anything
238
00:14:15,625 --> 00:14:17,333
that I shot there.
239
00:14:17,333 --> 00:14:21,666
I just shot what was of interest
and put it in the film,
240
00:14:21,666 --> 00:14:25,833
and over the decades, it's been
interpreted and reinterpreted.
241
00:14:25,833 --> 00:14:30,708
Some of the interpretations
make sense to me.
242
00:14:30,708 --> 00:14:32,666
They were never intended.
243
00:14:32,666 --> 00:14:35,625
♪♪
244
00:14:35,625 --> 00:14:38,291
The clock stopping.
245
00:14:39,666 --> 00:14:42,125
I don't know
what the hell it means.
246
00:14:42,125 --> 00:14:45,916
I never thought about
imposing...
247
00:14:45,916 --> 00:14:49,625
metaphor or meaning,
other than the St. Joseph Medal
248
00:14:49,625 --> 00:14:53,708
that is falling in
Father Karras' dream
249
00:14:53,708 --> 00:14:58,125
that was the medal that was
found in Iraq by Father Merrin,
250
00:14:58,125 --> 00:15:00,916
and he scratches around further
251
00:15:00,916 --> 00:15:05,666
and comes up
with a small head of Pazuzu
252
00:15:05,666 --> 00:15:12,375
attached to some mud
that's embedded itself on it.
253
00:15:12,375 --> 00:15:14,666
And he scrapes away
the face of it,
254
00:15:14,666 --> 00:15:20,541
and he -- you just see his face
react to the image of Pazuzu.
255
00:15:20,541 --> 00:15:25,541
And he right there
gets the premonition
256
00:15:25,541 --> 00:15:29,625
of -- of the whole movie,
of everything that's to come.
257
00:15:29,625 --> 00:15:32,625
The opening in Iraq
does set the tone
258
00:15:32,625 --> 00:15:34,916
and the mood
for the entire film,
259
00:15:34,916 --> 00:15:41,958
the atmosphere of dread and
an ancient supernatural mystery.
260
00:15:41,958 --> 00:15:46,791
Without saying anything
about what I just said,
261
00:15:46,791 --> 00:15:53,916
it brings about the appearance
of the Abyssinian demon Pazuzu.
262
00:15:53,916 --> 00:15:56,375
It shows the character
of Father Merrin
263
00:15:56,375 --> 00:16:02,375
as an archeologist priest,
and it lingers over...
264
00:16:02,375 --> 00:16:04,375
more than an hour's worth
of film
265
00:16:04,375 --> 00:16:08,333
before you ever see
Father Merrin again.
266
00:16:08,333 --> 00:16:10,791
He had
performed exorcism before.
267
00:16:10,791 --> 00:16:13,166
That comes out later.
268
00:16:13,166 --> 00:16:15,583
Don't you think
he's too old, Tom?
269
00:16:15,583 --> 00:16:17,250
How's his health?
270
00:16:17,250 --> 00:16:18,750
He must be alright.
271
00:16:18,750 --> 00:16:21,583
He's still running around,
digging up tombs.
272
00:16:21,583 --> 00:16:25,083
Besides,
he's had experience.
273
00:16:25,083 --> 00:16:26,416
I didn't know that.
274
00:16:26,416 --> 00:16:28,958
10, 12 years ago, I think,
in Africa.
275
00:16:28,958 --> 00:16:31,375
The exorcism
supposedly lasted a month.
276
00:16:31,375 --> 00:16:33,333
Heard it damn near
killed him.
277
00:16:33,333 --> 00:16:37,625
Then he gets a premonition
that you, the audience,
278
00:16:37,625 --> 00:16:43,125
have to sense that he's going to
face this ancient enemy again.
279
00:16:43,125 --> 00:16:45,416
So to me,
280
00:16:45,416 --> 00:16:49,208
it's every bit as important
as any scene in "The Exorcist"
281
00:16:49,208 --> 00:16:54,208
to set the mood
and set off the idea...
282
00:16:54,208 --> 00:16:58,625
of the supernatural
in our midst.
283
00:16:58,625 --> 00:17:03,375
That whole idea of...
284
00:17:03,375 --> 00:17:09,291
building a mood
as well as a story is gone.
285
00:17:09,291 --> 00:17:12,375
I will tell you that
in most of my films,
286
00:17:12,375 --> 00:17:15,625
but especially "The Exorcist,"
287
00:17:15,625 --> 00:17:19,625
I was strongly influenced
by music.
288
00:17:19,625 --> 00:17:21,708
And I've always...
289
00:17:21,708 --> 00:17:25,875
been consciously
and unconsciously influenced
290
00:17:25,875 --> 00:17:29,791
by music
that builds layer upon layer,
291
00:17:29,791 --> 00:17:33,208
things like Stravinsky's
"The Rite of Spring,"
292
00:17:33,208 --> 00:17:35,291
which is a slow build.
293
00:17:35,291 --> 00:17:38,541
Stravinsky said
it starts quietly
294
00:17:38,541 --> 00:17:44,041
because if you start with drums,
you have to end with thunder,
295
00:17:44,041 --> 00:17:46,625
so he started with
a solo instrument
296
00:17:46,625 --> 00:17:48,458
playing a very quiet melody.
297
00:17:48,458 --> 00:17:50,458
[Stravinsky's
"The Rite of Spring"plays]
298
00:17:50,458 --> 00:17:53,250
It then builds into
one of the most powerful
299
00:17:53,250 --> 00:17:57,708
and in a way terrifying pieces
of music ever written.
300
00:17:57,708 --> 00:18:01,666
♪♪
301
00:18:01,666 --> 00:18:04,708
I love films that build
layer on layer,
302
00:18:04,708 --> 00:18:08,750
like "2001," like "Psycho."
303
00:18:08,750 --> 00:18:13,375
That's all about maintaining
a tone and a mood
304
00:18:13,375 --> 00:18:18,916
and creating it
from a dead start.
305
00:18:18,916 --> 00:18:20,458
The mood of a film changes.
306
00:18:20,458 --> 00:18:24,125
There are moments
of extreme brightness
307
00:18:24,125 --> 00:18:28,666
and happiness in the early parts
of "The Exorcist."
308
00:18:28,666 --> 00:18:30,708
Oh, I love you.
309
00:18:30,708 --> 00:18:32,708
I love you.
310
00:18:32,708 --> 00:18:35,333
♪♪
311
00:18:35,333 --> 00:18:38,708
The tone is the same
almost throughout --
312
00:18:38,708 --> 00:18:44,291
an overriding sense of dread
that inhabits the entire picture
313
00:18:44,291 --> 00:18:48,708
and that audiences were
and are usually aware of
314
00:18:48,708 --> 00:18:50,708
before they go to see the film.
315
00:18:50,708 --> 00:18:53,416
♪♪
316
00:18:53,416 --> 00:18:55,500
You really don't want me
to play, huh?
317
00:18:55,500 --> 00:18:56,833
No, I do.
318
00:18:56,833 --> 00:18:58,833
Captain Howdy said no.
319
00:18:58,833 --> 00:19:00,125
Captain who?
320
00:19:00,125 --> 00:19:01,916
Captain Howdy.
321
00:19:01,916 --> 00:19:04,166
Who's Captain Howdy?
322
00:19:04,166 --> 00:19:06,041
You know, the mood goes from
323
00:19:06,041 --> 00:19:08,916
wonderful
mother-daughter relationship
324
00:19:08,916 --> 00:19:15,541
into an extreme alteration
of a 12-year-old's personality.
325
00:19:15,541 --> 00:19:18,708
Lick me!
Lick me!
326
00:19:18,708 --> 00:19:20,208
[Grunts]
327
00:19:20,208 --> 00:19:21,666
[Gasps]
328
00:19:21,666 --> 00:19:24,666
[Screams]
329
00:19:24,666 --> 00:19:28,500
In many of the sequences,
even earlier ones,
330
00:19:28,500 --> 00:19:31,583
seem to foreshadow
what's to come.
331
00:19:31,583 --> 00:19:34,833
I was very conscious and aware
332
00:19:34,833 --> 00:19:38,958
that by the time
people started to see the film,
333
00:19:38,958 --> 00:19:42,250
word would get around
what it was about.
334
00:19:42,250 --> 00:19:45,625
I knew that people
would be aware
335
00:19:45,625 --> 00:19:48,791
they were coming to see a film
about demonic possession,
336
00:19:48,791 --> 00:19:52,541
not a girl who had a problem
with her brain.
337
00:19:52,541 --> 00:19:54,375
It takes a while to get
to the possession,
338
00:19:54,375 --> 00:19:55,625
as well it should.
339
00:19:55,625 --> 00:19:57,416
Mom,
you should've seen.
340
00:19:57,416 --> 00:20:01,000
This man came along
on this beautifulgray horse.
341
00:20:01,000 --> 00:20:05,916
You have to see
what this young child was like
342
00:20:05,916 --> 00:20:08,250
before her appearance
343
00:20:08,250 --> 00:20:11,958
and her behavior
altered completely.
344
00:20:11,958 --> 00:20:17,041
And of course, the possession
scenes had to top one another.
345
00:20:17,041 --> 00:20:20,958
It starts very early
with just a bed shaking
346
00:20:20,958 --> 00:20:24,583
and no dramatic changes
in the girl's character,
347
00:20:24,583 --> 00:20:28,708
and it builds
to complete personality change,
348
00:20:28,708 --> 00:20:33,833
superhuman strength,
and horrible actions by the girl
349
00:20:33,833 --> 00:20:38,166
that a 12-year-old would be
incapable of committing.
350
00:20:38,166 --> 00:20:41,833
[Growling]
351
00:20:41,833 --> 00:20:46,208
There is a concept
that I was aware of at the time
352
00:20:46,208 --> 00:20:50,250
called expectancy set.
353
00:20:50,250 --> 00:20:53,458
If you're walking down
a dark street at night
354
00:20:53,458 --> 00:20:56,500
where there has been
a crime recently or a murder,
355
00:20:56,500 --> 00:21:01,458
there's something that occurs
within you,
356
00:21:01,458 --> 00:21:05,250
where you get butterflies.
357
00:21:05,250 --> 00:21:07,666
Mother?
358
00:21:07,666 --> 00:21:09,416
What's wrong with me?
359
00:21:09,416 --> 00:21:11,458
And that works on audiences.
360
00:21:11,458 --> 00:21:13,666
They come in
wanting to be scared,
361
00:21:13,666 --> 00:21:16,625
and you can --
you can play on that.
362
00:21:16,625 --> 00:21:18,291
It's just like
the doctor said,
363
00:21:18,291 --> 00:21:20,458
it's nerves,
and that's all.
364
00:21:20,458 --> 00:21:21,875
Okay?
365
00:21:21,875 --> 00:21:25,083
Burke Dennings,
good Father,
366
00:21:25,083 --> 00:21:28,041
was found at the bottom of
those steps leading to M Street
367
00:21:28,041 --> 00:21:31,125
with his head turned
completely around,
368
00:21:31,125 --> 00:21:32,916
facing backwards.
369
00:21:32,916 --> 00:21:35,875
I remember
when I was growing up
370
00:21:35,875 --> 00:21:40,791
and I used to walk
to high school in Chicago,
371
00:21:40,791 --> 00:21:44,166
and I would walk through
a neighborhood
372
00:21:44,166 --> 00:21:49,708
where there had been
a brutal, vicious murder,
373
00:21:49,708 --> 00:21:56,458
where a young girl
in a house along the way...
374
00:21:56,458 --> 00:22:02,291
had been taken out of her
bedroom window and decapitated.
375
00:22:02,291 --> 00:22:05,375
And the body parts
were lying on the lawn
376
00:22:05,375 --> 00:22:10,333
and in the streets
outside the house,
377
00:22:10,333 --> 00:22:12,333
and I remember consciously
378
00:22:12,333 --> 00:22:15,583
walking past
that house of horrors
379
00:22:15,583 --> 00:22:18,791
every day
on my way to high school
380
00:22:18,791 --> 00:22:23,916
and thinking about that brutal
crime that took place there.
381
00:22:23,916 --> 00:22:26,875
I have an idea
before I shoot a scene
382
00:22:26,875 --> 00:22:29,166
of how I think it should look,
383
00:22:29,166 --> 00:22:32,166
and then
when we're filming the scene,
384
00:22:32,166 --> 00:22:36,791
I might see something that makes
me want to have another angle
385
00:22:36,791 --> 00:22:43,541
or a different -- a closer angle
or have no coverage whatsoever.
386
00:22:43,541 --> 00:22:47,791
In "The Exorcist," we were often
in cramped settings,
387
00:22:47,791 --> 00:22:52,208
you know, in very tight spaces,
and it was difficult to get...
388
00:22:52,208 --> 00:22:56,041
either a second
or multiple cameras.
389
00:22:56,041 --> 00:22:58,000
Or it was a play,
390
00:22:58,000 --> 00:23:02,250
and in many ways,
he filmed it like a play.
391
00:23:02,250 --> 00:23:04,583
That's the simplicity of it.
392
00:23:04,583 --> 00:23:08,375
Today, cinema,
even widescreen cinema,
393
00:23:08,375 --> 00:23:13,375
even action-adventure films,
rely on the close-up.
394
00:23:13,375 --> 00:23:16,458
If you see a film
as powerful as "Ordet,"
395
00:23:16,458 --> 00:23:19,416
you realize it's a cop-out.
396
00:23:19,416 --> 00:23:24,208
I can't think of
any close-ups in "Ordet."
397
00:23:24,208 --> 00:23:26,791
Look, there is nothing
more powerful
398
00:23:26,791 --> 00:23:29,458
than a close-up
of Steve McQueen.
399
00:23:29,458 --> 00:23:33,041
Not the greatest landscape
you could film,
400
00:23:33,041 --> 00:23:39,083
not the Taj Mahal, has the power
of a close-up of Steve McQueen.
401
00:23:39,083 --> 00:23:44,041
You could tell what McQueen
was thinking without words.
402
00:23:44,041 --> 00:23:45,958
♪♪
403
00:23:45,958 --> 00:23:48,250
Dreyer's film of Joan of Arc
404
00:23:48,250 --> 00:23:54,125
is built on close-ups
of the main character
405
00:23:54,125 --> 00:24:00,333
going through her suffering
and her passion at the stake.
406
00:24:00,333 --> 00:24:03,833
When you see a play on
the stage, like "12 Angry Men,"
407
00:24:03,833 --> 00:24:06,125
you make your own close-ups.
408
00:24:06,125 --> 00:24:10,416
In cinema, the director makes
that decision for you.
409
00:24:10,416 --> 00:24:12,375
In the film "Ordet,"
410
00:24:12,375 --> 00:24:15,541
Dreyer did not make
that decision.
411
00:24:15,541 --> 00:24:19,333
The best way to do anything
is with simplicity.
412
00:24:19,333 --> 00:24:22,708
Hitchcock usually found
the simplest solution,
413
00:24:22,708 --> 00:24:27,458
even in complex situations,
like what was it like for a guy
414
00:24:27,458 --> 00:24:31,416
to be stabbed and fall backwards
down the stairs?
415
00:24:31,416 --> 00:24:35,666
Hitchcock's films are about
the possibilities of cinema.
416
00:24:35,666 --> 00:24:39,208
As an observer who happens
to be a film director,
417
00:24:39,208 --> 00:24:43,125
you have to look at something
and decide how to film it.
418
00:24:43,125 --> 00:24:46,458
So you have to envision first
what is the event
419
00:24:46,458 --> 00:24:50,291
that's gonna take place
in these different locations?
420
00:24:50,291 --> 00:24:54,000
And they're speaking to you
while you're doing that.
421
00:24:54,000 --> 00:24:57,375
Some inner voice is saying,
"What about this?"
422
00:24:57,375 --> 00:25:01,916
Then you're trying to figure out
how to put it together
423
00:25:01,916 --> 00:25:05,791
so that it becomes
kind of seamless
424
00:25:05,791 --> 00:25:08,750
because it's all made up
of separate shots
425
00:25:08,750 --> 00:25:11,708
in a -- the way
a Jackson Pollock painting
426
00:25:11,708 --> 00:25:14,250
is made up of dots
427
00:25:14,250 --> 00:25:18,833
and the Monet impressions are
made up of just brush strokes.
428
00:25:18,833 --> 00:25:20,791
♪♪
429
00:25:20,791 --> 00:25:23,916
"The Exorcist"
and "The French Connection,"
430
00:25:23,916 --> 00:25:27,166
many parts of them
look like a documentary,
431
00:25:27,166 --> 00:25:31,125
but I had made documentaries and
so I knew the approach to that.
432
00:25:31,125 --> 00:25:34,708
When you make a documentary,
as you're doing now,
433
00:25:34,708 --> 00:25:37,583
you don't know what
the subject's gonna say,
434
00:25:37,583 --> 00:25:39,958
and so you roll with the flow.
435
00:25:39,958 --> 00:25:43,666
And it has often rough edges.
436
00:25:43,666 --> 00:25:45,458
I like the rough edges.
437
00:25:45,458 --> 00:25:49,000
I had this great camera operator
on a number of films,
438
00:25:49,000 --> 00:25:51,750
but he started with me
on "The French Connection."
439
00:25:51,750 --> 00:25:54,125
His name was Ricky Bravo.
440
00:25:54,125 --> 00:25:58,500
He photographed the Cuban
Revolution at Castro's side
441
00:25:58,500 --> 00:26:01,708
from the Sierra Maestra
mountains to Havana,
442
00:26:01,708 --> 00:26:05,083
and Ricky could do anything
with a handheld camera.
443
00:26:05,083 --> 00:26:07,166
I wouldn't let Ricky
be on the set
444
00:26:07,166 --> 00:26:08,791
while Owen was lighting the set.
445
00:26:08,791 --> 00:26:10,291
When we were lit,
446
00:26:10,291 --> 00:26:12,166
I'd say, "Okay, Ricky,
we're ready to shoot,"
447
00:26:12,166 --> 00:26:15,000
and I'd let him go
and find the scene.
448
00:26:15,000 --> 00:26:18,833
And I would say to him,
"Don't ever cut.
449
00:26:18,833 --> 00:26:21,708
Just keep the camera rolling
and just find the shot,
450
00:26:21,708 --> 00:26:24,000
as you did with Castro."
451
00:26:24,000 --> 00:26:26,291
So I'd set up a scene,
452
00:26:26,291 --> 00:26:29,625
two guys walk into a room,
as in "French Connection."
453
00:26:29,625 --> 00:26:32,000
They go over the desk
where a guy sits down.
454
00:26:32,000 --> 00:26:34,791
The other two guys flank him,
they move around,
455
00:26:34,791 --> 00:26:38,791
and Ricky's finding the scene
like it's a documentary.
456
00:26:38,791 --> 00:26:41,583
And sometimes, he would cut,
457
00:26:41,583 --> 00:26:44,833
and I said, "Ricky,
I told you never to cut.
458
00:26:44,833 --> 00:26:46,666
Why did you cut?"
459
00:26:46,666 --> 00:26:49,208
He said, [As Bravo] "Oh, this
fellow was completely blocked.
460
00:26:49,208 --> 00:26:51,791
He was blocked
by the other guy."
461
00:26:51,791 --> 00:26:54,375
I said, "Ricky,
is that what you said to Castro
462
00:26:54,375 --> 00:26:56,416
when he was
in the mountains up there?
463
00:26:56,416 --> 00:26:58,583
Did you say,
'We got to do it again, Fidel,
464
00:26:58,583 --> 00:27:00,791
because you got blocked?'"
465
00:27:00,791 --> 00:27:02,625
In most people's mind,
466
00:27:02,625 --> 00:27:06,250
a feature film is different
from a documentary.
467
00:27:06,250 --> 00:27:08,416
A feature film is like a play,
468
00:27:08,416 --> 00:27:11,541
and it's all set up
and lit and composed.
469
00:27:11,541 --> 00:27:13,500
I don't look at it that way.
470
00:27:13,500 --> 00:27:20,208
I'm more interested
in spontaneity than perfection,
471
00:27:20,208 --> 00:27:23,250
and you don't get spontaneity
on take 90.
472
00:27:23,250 --> 00:27:24,791
William Wyler was --
473
00:27:24,791 --> 00:27:27,833
his nickname
was "90-take Wyler."
474
00:27:27,833 --> 00:27:29,333
His films are great,
475
00:27:29,333 --> 00:27:31,750
and whatever
his technique was --
476
00:27:31,750 --> 00:27:33,458
I wasn't there.
477
00:27:33,458 --> 00:27:35,125
"The Best Years of Our Lives"
is as good as anything.
478
00:27:35,125 --> 00:27:36,916
He did a lot of takes,
479
00:27:36,916 --> 00:27:41,083
and he used to shoot around
the clock, setups everywhere.
480
00:27:41,083 --> 00:27:43,208
But they were
his insurance policy.
481
00:27:43,208 --> 00:27:45,083
He felt that need,
482
00:27:45,083 --> 00:27:49,291
and I know that Kubrick is said
to have done 90 to 100 takes.
483
00:27:49,291 --> 00:27:51,416
I'm a one-take guy.
484
00:27:51,416 --> 00:27:54,291
I don't believe in take two.
485
00:27:54,291 --> 00:28:00,500
Von Sydow was great until he got
to a point in the scene
486
00:28:00,500 --> 00:28:05,708
where Father Merrin
has to declaim at the demon,
487
00:28:05,708 --> 00:28:11,291
"I cast you out, unclean spirit,
in the name of the father
488
00:28:11,291 --> 00:28:15,666
and of the Son
and of the Holy Spirit,"
489
00:28:15,666 --> 00:28:20,458
and that had to be done
powerfully by a man
490
00:28:20,458 --> 00:28:22,583
who we have established
491
00:28:22,583 --> 00:28:27,333
is taking little nitroglycerin
pills for his heart condition,
492
00:28:27,333 --> 00:28:29,125
is on the verge of death.
493
00:28:29,125 --> 00:28:32,916
But he had to come up
with this powerful reading,
494
00:28:32,916 --> 00:28:37,375
and for some reason,
Max couldn't do it.
495
00:28:37,375 --> 00:28:39,708
It wasn't powerful enough.
496
00:28:39,708 --> 00:28:48,500
The scene needed,
you know, brass, not strings.
497
00:28:48,500 --> 00:28:53,708
And I said,
"Max, what is wrong?
498
00:28:53,708 --> 00:28:57,541
I'll do anything that
you suggest to get you to do --
499
00:28:57,541 --> 00:29:03,125
we'll fly Ingmar Bergman in here
to direct this scene."
500
00:29:03,125 --> 00:29:06,583
And he said very calmly,
"No, no, no, no."
501
00:29:06,583 --> 00:29:10,583
He said, "This is -- This is not
a matter of Bergman.
502
00:29:10,583 --> 00:29:15,125
I guess what it is is that
I just don't believe in God."
503
00:29:15,125 --> 00:29:24,541
♪♪
504
00:29:24,541 --> 00:29:27,916
[Speaks Swedish]
505
00:29:48,000 --> 00:29:49,791
I said...
506
00:29:49,791 --> 00:29:52,416
"But you played...
507
00:29:52,416 --> 00:29:57,791
Jesus in the movie
'The Greatest Story Ever Told.'"
508
00:29:57,791 --> 00:29:59,291
He said, "Yes.
509
00:29:59,291 --> 00:30:03,083
I played him as a man,
not as a god."
510
00:30:03,083 --> 00:30:06,000
What is your name?
Jesus.
511
00:30:06,000 --> 00:30:08,208
♪♪
512
00:30:08,208 --> 00:30:11,500
That's a good name.
513
00:30:11,500 --> 00:30:13,541
Thank you.
514
00:30:13,541 --> 00:30:16,458
I said, "Well,
play this guy as a man."
515
00:30:16,458 --> 00:30:18,708
And he said, "Okay.
516
00:30:18,708 --> 00:30:21,333
Give me a little time."
517
00:30:21,333 --> 00:30:23,000
We left him alone
in the dressing room,
518
00:30:23,000 --> 00:30:26,250
he came out, he went in front
of the camera and did it,
519
00:30:26,250 --> 00:30:28,083
and that's what's in the film.
520
00:30:28,083 --> 00:30:31,500
I cast you out,
unclean spirit!
521
00:30:31,500 --> 00:30:33,041
Shove it up your ass,
you faggot!
522
00:30:33,041 --> 00:30:35,375
In the name
of our Lord Jesus Christ.
523
00:30:36,416 --> 00:30:38,500
It is
he who commands you,
524
00:30:38,500 --> 00:30:41,458
he who flung you
from the gates of Heaven
525
00:30:41,458 --> 00:30:43,541
to the depths of Hell!Fuck him!
526
00:30:43,541 --> 00:30:45,666
Be gone...Fuck him, Karras!
Fuck him!
527
00:30:45,666 --> 00:30:47,291
...from this creature
of God!
528
00:30:49,625 --> 00:30:52,458
I don't understand that.
529
00:30:52,458 --> 00:30:54,166
I don't know
what happened there.
530
00:30:54,166 --> 00:30:56,041
That's one of
the strangest things
531
00:30:56,041 --> 00:30:58,791
that happened to me
as a director,
532
00:30:58,791 --> 00:31:01,625
and his reason
for not being able to do it
533
00:31:01,625 --> 00:31:03,666
was so foreign to me
534
00:31:03,666 --> 00:31:06,541
because what --
what is an actor doing?
535
00:31:06,541 --> 00:31:08,000
Acting!
536
00:31:08,000 --> 00:31:11,666
Years later,
Blatty and I talked about that.
537
00:31:11,666 --> 00:31:13,250
Blatty said to me,
538
00:31:13,250 --> 00:31:16,541
"I think he just didn't want
to do it that way."
539
00:31:16,541 --> 00:31:22,375
Max's strength and power came
from understatement as an actor.
540
00:31:39,250 --> 00:31:42,375
The main thing about getting
what you want as a director
541
00:31:42,375 --> 00:31:46,125
is how you cast the picture.
542
00:31:46,125 --> 00:31:47,500
If you've miscast it,
543
00:31:47,500 --> 00:31:50,125
you'll never get
what you want -- ever.
544
00:31:50,125 --> 00:31:54,375
Blatty wrote himself
as Father Karras.
545
00:31:54,375 --> 00:31:58,291
He drew on his own feelings,
his own experiences.
546
00:31:58,291 --> 00:31:59,958
He set the film in Iraq
547
00:31:59,958 --> 00:32:03,708
because he had been to Iraq
as a correspondent.
548
00:32:03,708 --> 00:32:06,125
Now, I'm going to
confess something
549
00:32:06,125 --> 00:32:10,125
that I don't think
I've ever said before in public,
550
00:32:10,125 --> 00:32:12,541
and that is the fact
that Blatty wanted to give me
551
00:32:12,541 --> 00:32:17,041
his entire percentage
of profit of the movie
552
00:32:17,041 --> 00:32:19,791
to let him play Father Karras.
553
00:32:19,791 --> 00:32:24,250
And I didn't see him
as Father Karras.
554
00:32:24,250 --> 00:32:28,583
I saw a play called
"That Championship Season"
555
00:32:28,583 --> 00:32:29,833
by Jason Miller.
556
00:32:29,833 --> 00:32:31,791
It turned out that he had gone
557
00:32:31,791 --> 00:32:34,791
to Catholic University
in Washington,
558
00:32:34,791 --> 00:32:37,750
studied for the priesthood
for three years,
559
00:32:37,750 --> 00:32:40,333
had a crisis of faith,
and dropped out,
560
00:32:40,333 --> 00:32:46,166
and then he put all this
lapsed Catholicism in his play.
561
00:32:46,166 --> 00:32:49,208
Bless me, Father,
for I have sinned.
562
00:33:04,166 --> 00:33:07,625
So I told him I was making
the film of "The Exorcist."
563
00:33:07,625 --> 00:33:10,333
I told him how much
I loved his play,
564
00:33:10,333 --> 00:33:12,375
and about a week or so later,
565
00:33:12,375 --> 00:33:16,583
I got a call in California
from Jason in New York.
566
00:33:16,583 --> 00:33:19,458
And he said, "Hey, you know
that 'Exorcist' book
567
00:33:19,458 --> 00:33:21,041
you were telling me about?"
568
00:33:21,041 --> 00:33:22,291
He said, "I read that book."
569
00:33:22,291 --> 00:33:24,750
He said, "I am that guy."
570
00:33:24,833 --> 00:33:27,625
He said, "I am that guy."
571
00:33:27,625 --> 00:33:29,416
I said, "Well,
you're not that guy.
572
00:33:29,416 --> 00:33:31,250
We've signed another actor."
573
00:33:31,250 --> 00:33:33,083
Before I ever met Jason Miller,
574
00:33:33,083 --> 00:33:37,833
we signed an actor named
Stacy Keach to play that part.
575
00:33:37,833 --> 00:33:42,875
No man is just
because he does just words.
576
00:33:42,875 --> 00:33:46,750
The works are just
if the man is just.
577
00:33:46,750 --> 00:33:51,208
He said, "I want --
Why don't you screen-test me?"
578
00:33:51,208 --> 00:33:53,291
I said -- I got angry.
579
00:33:53,291 --> 00:33:55,083
I said, "What for?
580
00:33:55,083 --> 00:33:57,833
I told you, I've cast the part."
581
00:33:57,833 --> 00:34:00,250
He said, "I'm telling you,"
582
00:34:00,250 --> 00:34:04,041
and so I said, "Okay,
you want to shoot a screen test,
583
00:34:04,041 --> 00:34:07,250
I'll set up a test for you,
and after it's over,
584
00:34:07,250 --> 00:34:09,125
I'll take the film
out of the camera
585
00:34:09,125 --> 00:34:16,041
and give it to you and you can
show it to your grandchildren.
586
00:34:16,041 --> 00:34:18,875
You come out here
on your own nickel,
587
00:34:18,875 --> 00:34:21,125
knowing that
we've cast the part."
588
00:34:21,125 --> 00:34:24,833
We set up a dolly track
on an empty soundstage
589
00:34:24,833 --> 00:34:27,416
with just lights, no set.
590
00:34:27,416 --> 00:34:31,666
I called in Ellen Burstyn,
who I had cast...
591
00:34:31,666 --> 00:34:34,916
to do a scene with Jason,
592
00:34:34,916 --> 00:34:39,291
the scene where
she's walking along a path
593
00:34:39,291 --> 00:34:43,875
in Georgetown
and tells Father Karras...
594
00:34:43,875 --> 00:34:45,125
It just so happens
595
00:34:45,125 --> 00:34:48,250
that somebody
very close to me is...
596
00:34:48,250 --> 00:34:52,958
is probably possessed
and needs an exorcist.
597
00:34:52,958 --> 00:34:57,583
Then I had Ellen interview Jason
about his life,
598
00:34:57,583 --> 00:35:01,500
where I put the camera over her
shoulder and just studied him,
599
00:35:01,500 --> 00:35:05,291
and then I made a shot of him,
an extreme close of him,
600
00:35:05,291 --> 00:35:07,833
saying the -- the mass.
601
00:35:07,833 --> 00:35:12,708
The next day,
I saw the rushes of that scene,
602
00:35:12,708 --> 00:35:15,458
and the camera just loved him.
603
00:35:15,458 --> 00:35:18,375
I went to John Calley
at Warner Bros.
604
00:35:18,375 --> 00:35:20,916
I said,
"I'm gonna hire this guy."
605
00:35:20,916 --> 00:35:23,750
He said,
"He's a complete unknown.
606
00:35:23,750 --> 00:35:25,666
He's nobody.
607
00:35:25,666 --> 00:35:27,375
You have Stacy Keach."
608
00:35:27,375 --> 00:35:28,958
I said, "I don't care.
609
00:35:28,958 --> 00:35:30,333
This is the guy.
610
00:35:30,333 --> 00:35:32,166
I don't have to direct this guy.
611
00:35:32,166 --> 00:35:34,250
He isthe guy."
612
00:35:34,250 --> 00:35:36,375
And we went with it.
613
00:35:36,375 --> 00:35:38,625
I wasn't proud of it,
614
00:35:38,625 --> 00:35:41,958
but we had to pay off
Stacy Keach.
615
00:35:41,958 --> 00:35:46,083
Paid him in full, his salary.
616
00:35:46,083 --> 00:35:48,458
And they did think I was nuts,
617
00:35:48,458 --> 00:35:53,583
but I had what has been
described by Fritz Lang
618
00:35:53,583 --> 00:35:57,666
as a kind of
sleepwalker's security.
619
00:35:57,666 --> 00:36:02,958
I personally think...
620
00:36:02,958 --> 00:36:06,083
that I made my films
621
00:36:06,083 --> 00:36:11,583
with a kind of
sleepwalking security.
622
00:36:11,583 --> 00:36:13,500
I did things...
623
00:36:13,500 --> 00:36:16,583
which I thought were right.
624
00:36:16,583 --> 00:36:18,625
Period.
625
00:36:18,625 --> 00:36:21,333
Friedkin: That's what I had
when I made "The Exorcist."
626
00:36:21,333 --> 00:36:26,541
I felt that every decision
I made was the right decision,
627
00:36:26,541 --> 00:36:29,166
and I didn't question
my instincts.
628
00:36:29,166 --> 00:36:32,000
And I had the power...
629
00:36:32,000 --> 00:36:33,708
then to do that.
630
00:36:33,708 --> 00:36:38,166
The studio had offered it
to Stanley Kubrick,
631
00:36:38,166 --> 00:36:40,625
Arthur Penn, and Mike Nichols.
632
00:36:40,625 --> 00:36:43,291
Those three guys passed.
633
00:36:43,291 --> 00:36:45,750
They didn't know
how to make the picture,
634
00:36:45,750 --> 00:36:47,625
but I didknow
how to make the picture.
635
00:36:47,625 --> 00:36:49,791
And they sensed that.
636
00:36:49,791 --> 00:36:52,791
And Jason's great in the film.
637
00:36:52,791 --> 00:36:56,166
He shouldn't have been
in that picture.
638
00:36:56,166 --> 00:36:59,125
I accidentally saw his play.
639
00:36:59,125 --> 00:37:04,333
I accidentally was moved by it,
another gift from the movie god.
640
00:37:04,333 --> 00:37:09,041
Look, it's very difficult for
an actor, even a great actor,
641
00:37:09,041 --> 00:37:12,083
to produce an emotion
in front of a camera.
642
00:37:12,083 --> 00:37:16,875
Behind the camera may be dozens,
643
00:37:16,875 --> 00:37:21,500
if not more, people standing
right behind the camera,
644
00:37:21,500 --> 00:37:25,250
walking around, milling,
reading the newspaper sometimes,
645
00:37:25,250 --> 00:37:26,750
eating lunch.
646
00:37:26,750 --> 00:37:29,291
I met Father Bill O'Malley,
647
00:37:29,291 --> 00:37:32,125
who plays Father Dyer
in "The Exorcist,"
648
00:37:32,125 --> 00:37:33,708
through Bill Blatty,
and I met him.
649
00:37:33,708 --> 00:37:37,250
And I could see and hear
instantly that he was dying,
650
00:37:37,250 --> 00:37:39,208
but he wasn't an actor.
651
00:37:39,208 --> 00:37:42,875
He is a priest,
and I just turned him loose...
652
00:37:42,875 --> 00:37:45,875
My idea of heaven
is a solid white nightclub
653
00:37:45,875 --> 00:37:48,708
with me as a headliner
for all eternity,
654
00:37:48,708 --> 00:37:50,208
and they love me.
655
00:37:50,208 --> 00:37:52,041
[Laughter]
656
00:37:52,041 --> 00:37:57,708
...until we came to the scene
where he has to come to tears
657
00:37:57,708 --> 00:38:03,500
as he's giving the last rites
to his good friend who's dying,
658
00:38:03,500 --> 00:38:05,708
and O'Malley couldn't do it.
659
00:38:05,708 --> 00:38:09,708
And I took O'Malley aside
and I said,
660
00:38:09,708 --> 00:38:12,833
"Bill, do you love me?"
661
00:38:12,833 --> 00:38:14,291
He said,
662
00:38:14,291 --> 00:38:15,541
"Yes,
of course I love you, Bill.
663
00:38:15,541 --> 00:38:16,875
You know that."
664
00:38:16,875 --> 00:38:19,500
I said, "Do you trust me?"
665
00:38:19,500 --> 00:38:21,750
Said, "Of course I trust you."
666
00:38:21,750 --> 00:38:24,458
I said, "Okay,"
and I turned away
667
00:38:24,458 --> 00:38:27,916
and then I hit him
full in the face.
668
00:38:27,916 --> 00:38:29,916
I smacked him in the face,
and I pushed him
669
00:38:29,916 --> 00:38:33,083
in front of the camera
and I said, "Action."
670
00:38:33,083 --> 00:38:36,458
[Speaking indistinctly]
671
00:38:44,333 --> 00:38:47,958
And afterward, he hugged me
and thanked me
672
00:38:47,958 --> 00:38:51,833
because there was no other way
he was gonna ever get to that,
673
00:38:51,833 --> 00:38:55,166
but I don't think I would
do that again that way.
674
00:38:55,166 --> 00:38:59,500
Techniques like that would --
would not go over today.
675
00:38:59,500 --> 00:39:01,708
That wasn't something
I invented.
676
00:39:01,708 --> 00:39:04,333
That was done by directors
like John Ford
677
00:39:04,333 --> 00:39:07,958
and George Stevens
to produce that emotion.
678
00:39:07,958 --> 00:39:11,791
Ford and Stevens -- they do
whatever technique worked.
679
00:39:11,791 --> 00:39:15,541
I remember seeing a story
in Lifemagazine,
680
00:39:15,541 --> 00:39:18,958
a photo essay
on the production of the film
681
00:39:18,958 --> 00:39:22,958
"The Diary of Anne Frank,"
directed by George Stevens.
682
00:39:22,958 --> 00:39:27,583
So they had a big set built
of the top-floor apartment
683
00:39:27,583 --> 00:39:30,958
where the Frank family
was hiding,
684
00:39:30,958 --> 00:39:34,166
and they were in abject fear
685
00:39:34,166 --> 00:39:38,375
when the Nazi sirens would go by
in the streets of Amsterdam.
686
00:39:38,375 --> 00:39:40,375
And there's a picture
of George Stevens
687
00:39:40,375 --> 00:39:46,000
sitting on top of the set
on the crossbeams with a rifle,
688
00:39:46,000 --> 00:39:48,791
and he used to shoot off a rifle
689
00:39:48,791 --> 00:39:53,333
to get a reaction
from the people in the room.
690
00:39:53,333 --> 00:39:57,791
And I did that all
throughout "The Exorcist" film.
691
00:39:57,791 --> 00:40:00,875
There's the one shot I remember
in particular.
692
00:40:00,875 --> 00:40:03,375
It's a tight close-up
with Jason Miller
693
00:40:03,375 --> 00:40:06,708
is working at the desk
in his room,
694
00:40:06,708 --> 00:40:09,583
and then a phone rings.
695
00:40:09,583 --> 00:40:12,041
[Telephone rings]
696
00:40:12,041 --> 00:40:14,625
I didn't play a phone.
697
00:40:14,625 --> 00:40:17,416
I shot a rifle.
698
00:40:17,416 --> 00:40:19,625
There are many ways
in which you work
699
00:40:19,625 --> 00:40:22,041
with the actors and the crew.
700
00:40:22,041 --> 00:40:25,708
There's no one technique.
701
00:40:25,708 --> 00:40:32,625
With someone like Ellen Burstyn
or Max von Sydow, Lee J. Cobb,
702
00:40:32,625 --> 00:40:36,250
one of the greatest
American actors who ever lived,
703
00:40:36,250 --> 00:40:38,750
you don't give them
a lot of direction.
704
00:40:38,750 --> 00:40:43,041
You talk initially
before you shoot the film,
705
00:40:43,041 --> 00:40:45,750
make sure you're
on the same page,
706
00:40:45,750 --> 00:40:47,500
and then they go out
and they do it.
707
00:40:47,500 --> 00:40:50,000
And if you need or want
to correct anything,
708
00:40:50,000 --> 00:40:51,875
you'll say something to them,
709
00:40:51,875 --> 00:40:56,916
much as the conductor
of a symphony orchestra
710
00:40:56,916 --> 00:41:00,541
talks to the members
of the orchestra.
711
00:41:00,541 --> 00:41:04,041
That section a little softer
or a little louder
712
00:41:04,041 --> 00:41:06,125
or faster or slower,
713
00:41:06,125 --> 00:41:09,500
and that's basically
all you'll adjust
714
00:41:09,500 --> 00:41:11,666
with -- with a great actor.
715
00:41:11,666 --> 00:41:14,500
Kinderman: Might your daughter
remember, perhaps,
716
00:41:14,500 --> 00:41:17,291
if Mr. Dennings
was in her room that night?
717
00:41:17,291 --> 00:41:19,875
My favorite scene
in "The Exorcist"
718
00:41:19,875 --> 00:41:24,666
is a scene where Lee J. Cobb,
who plays Detective Kinderman,
719
00:41:24,666 --> 00:41:29,333
is at the opposite end
of a table from Ellen Burstyn,
720
00:41:29,333 --> 00:41:33,875
and it's a very quiet scene
where very little happens
721
00:41:33,875 --> 00:41:37,916
in which he suggests to her
without saying it
722
00:41:37,916 --> 00:41:40,333
that her daughter
might have pushed a man
723
00:41:40,333 --> 00:41:42,916
out of her bedroom window.
724
00:41:42,916 --> 00:41:44,833
Just two setups --
725
00:41:44,833 --> 00:41:48,750
one over her shoulder,
one over his --
726
00:41:48,750 --> 00:41:52,416
that moves toward
each one of them,
727
00:41:52,416 --> 00:41:55,416
just pulling
the audience closer.
728
00:41:55,416 --> 00:41:57,333
All interior,
729
00:41:57,333 --> 00:42:03,125
and I remember saying to them,
yes, just interiorize that.
730
00:42:03,125 --> 00:42:06,875
Ellen,
you know what he's saying,
731
00:42:06,875 --> 00:42:08,708
but you can't show it.
732
00:42:08,708 --> 00:42:13,125
Don't show him
how this is killing you inside.
733
00:42:13,125 --> 00:42:16,166
Suppress that emotion
throughout,
734
00:42:16,166 --> 00:42:19,958
and she played that scene
so beautifully.
735
00:42:19,958 --> 00:42:22,041
That's the way
she wanted to play it.
736
00:42:22,041 --> 00:42:24,916
Same with Lee.
737
00:42:24,916 --> 00:42:27,458
As the tension is relieved,
738
00:42:27,458 --> 00:42:33,375
the camera almost imperceptibly
moves away from that.
739
00:42:33,375 --> 00:42:37,541
The scene I've just described
is...
740
00:42:37,541 --> 00:42:41,958
one of the most
tension-filled in the film
741
00:42:41,958 --> 00:42:44,500
because of what's being said.
742
00:42:44,500 --> 00:42:46,208
She's sitting there
at the table.
743
00:42:46,208 --> 00:42:49,916
She says to him,
not knowing what to say...
744
00:42:49,916 --> 00:42:52,583
Would you like
some more coffee?
745
00:42:52,583 --> 00:42:55,833
...hoping that he'll say, "No,
I'm fine," and get out of there,
746
00:42:55,833 --> 00:42:57,416
and he turns and says...
747
00:42:57,416 --> 00:42:58,666
Please.
748
00:42:58,666 --> 00:43:00,291
Oh, my God.
749
00:43:00,291 --> 00:43:04,625
That moment on her
is devastating.
750
00:43:12,375 --> 00:43:16,500
And he calmly suggests to her...
751
00:43:16,500 --> 00:43:18,541
You might
ask your daughter
752
00:43:18,541 --> 00:43:19,958
if she remembers
753
00:43:19,958 --> 00:43:22,875
seeing Mr. Dennings
in her room that night.
754
00:43:22,875 --> 00:43:24,958
Look, he -- he wouldn't
have any reason
755
00:43:24,958 --> 00:43:26,416
in the world
to up to her room.
756
00:43:26,416 --> 00:43:28,208
Oh, I know,
I realize,
757
00:43:28,208 --> 00:43:31,250
but if certain
British doctors never asked,
758
00:43:31,250 --> 00:43:32,833
"What is this fungus?"
759
00:43:32,833 --> 00:43:35,833
we wouldn't today
have penicillin, correct?
760
00:43:35,833 --> 00:43:41,250
It's a brilliant dialogue,
and he then says...
761
00:43:41,250 --> 00:43:44,041
I-I really hate
to ask you this, but...
762
00:43:44,041 --> 00:43:46,291
for --
for my daughter,
763
00:43:46,291 --> 00:43:49,416
could you please
give an autograph?
764
00:43:49,416 --> 00:43:52,791
And that completely
relieves the tension.
765
00:43:52,791 --> 00:43:55,291
You're a very nice lady.
766
00:43:57,833 --> 00:44:00,750
Thank you.You're a nice man.
767
00:44:00,750 --> 00:44:04,583
Wonderful characters
with very few words,
768
00:44:04,583 --> 00:44:07,000
but the tension
is totally relieved
769
00:44:07,000 --> 00:44:09,458
because after he goes
out the door,
770
00:44:09,458 --> 00:44:13,333
all hell will break loose
in the house.
771
00:44:13,333 --> 00:44:15,375
And after he leaves,
772
00:44:15,375 --> 00:44:21,125
I added the sound of
a ticking grandfather clock...
773
00:44:21,125 --> 00:44:25,000
which to the audience
has the effect of a bomb ticking
774
00:44:25,000 --> 00:44:26,458
before it goes off.
775
00:44:26,458 --> 00:44:28,541
It's a quiet [Clicks tongue]
776
00:44:31,166 --> 00:44:35,083
There is a grandfather clock
buried in the shot,
777
00:44:35,083 --> 00:44:38,000
but for the most part,
you would not be conscious of it
778
00:44:38,000 --> 00:44:39,875
if you were in the room with it.
779
00:44:39,875 --> 00:44:47,000
[Clock ticking]
780
00:44:47,000 --> 00:44:48,500
[Glass shatters]
781
00:44:48,500 --> 00:44:52,333
And then all of a sudden,
there's a scream
782
00:44:52,333 --> 00:44:58,041
that comes from upstairs,
which is the bomb going.
783
00:44:58,041 --> 00:45:01,125
Nothing is more shocking than...
784
00:45:01,125 --> 00:45:05,958
the masturbation scene,
and that was Blatty's intent.
785
00:45:05,958 --> 00:45:08,583
And I told him,
786
00:45:08,583 --> 00:45:12,916
and he agreed, that I wasn't
going to sugarcoat it.
787
00:45:12,916 --> 00:45:15,958
Here it is.
This is what happens.
788
00:45:15,958 --> 00:45:17,833
Let Jesus fuck you!
Let Jesus fuck you!
789
00:45:17,833 --> 00:45:20,916
Let him fuck you!
790
00:45:20,916 --> 00:45:28,333
It was...extremely disturbing,
that sequence,
791
00:45:28,333 --> 00:45:32,916
both to conceive of and to shoot
792
00:45:32,916 --> 00:45:40,083
because it's probably
the only time in any film
793
00:45:40,083 --> 00:45:44,625
where something like
the crucifix and the vagina
794
00:45:44,625 --> 00:45:49,416
are brought into
the same frame of film.
795
00:45:50,666 --> 00:45:52,250
I came up with this notion,
796
00:45:52,250 --> 00:45:54,791
which I discussed
with Dick Smith,
797
00:45:54,791 --> 00:45:58,791
that the makeup should be
organic to something
798
00:45:58,791 --> 00:46:01,125
that Regan had done to herself,
799
00:46:01,125 --> 00:46:04,750
and it occurred to me that the
makeup should grow out of that.
800
00:46:04,750 --> 00:46:07,166
Dick Smith liked that idea,
801
00:46:07,166 --> 00:46:10,500
and he then created the makeup
to grow out
802
00:46:10,500 --> 00:46:12,583
of what appeared to be
803
00:46:12,583 --> 00:46:17,583
gangrenous self-inflicted wounds
on her face.
804
00:46:17,583 --> 00:46:20,750
Ensor is
one of my favorite artists
805
00:46:20,750 --> 00:46:22,791
who influenced me a great deal,
806
00:46:22,791 --> 00:46:26,250
and the masks in a film I made
called "The Brink's Job,"
807
00:46:26,250 --> 00:46:29,750
which is about a famous robbery
in the 1950s,
808
00:46:29,750 --> 00:46:35,625
are inspired by
Ensor's paintings of masks.
809
00:46:35,625 --> 00:46:39,875
I showed these masks to
Dick Smith for "The Exorcist"
810
00:46:39,875 --> 00:46:41,416
just to show
811
00:46:41,416 --> 00:46:44,625
certain expressive things
that were possible.
812
00:46:44,625 --> 00:46:50,000
The first makeup test that
Dick did was just white face...
813
00:46:50,000 --> 00:46:53,458
dark eyes, red lines
under the face,
814
00:46:53,458 --> 00:46:55,000
and I didn't like it.
815
00:46:55,000 --> 00:46:57,166
I thought it looked like makeup,
816
00:46:57,166 --> 00:47:01,458
but then some months later
in the cutting room,
817
00:47:01,458 --> 00:47:03,583
the editor, Bud Smith,
818
00:47:03,583 --> 00:47:06,875
showed me
the makeup tests again.
819
00:47:06,875 --> 00:47:09,208
He said, "Look at this frame."
820
00:47:09,208 --> 00:47:12,458
♪♪
821
00:47:12,458 --> 00:47:16,166
When you see just a frame
or two of it, it's shocking,
822
00:47:16,166 --> 00:47:18,583
and it speaks volumes.
823
00:47:18,583 --> 00:47:20,333
It's not in the script.
824
00:47:20,333 --> 00:47:22,458
I decided to put it in later,
825
00:47:22,458 --> 00:47:25,458
and then when I did
the 2000 version,
826
00:47:25,458 --> 00:47:28,375
I added a couple of more.
827
00:47:28,375 --> 00:47:32,791
I think all of us
probably think...
828
00:47:32,791 --> 00:47:34,708
in subliminal perception.
829
00:47:34,708 --> 00:47:38,166
First time I saw it was done
by Alain Resnais
830
00:47:38,166 --> 00:47:42,708
in "Last Year at Marienbad"
and in "Hiroshima Mon Amour."
831
00:47:42,708 --> 00:47:52,333
♪♪
832
00:47:52,333 --> 00:47:54,875
And that made a profound
impression on me,
833
00:47:54,875 --> 00:47:56,833
and I used it in "The Exorcist."
834
00:47:56,833 --> 00:48:01,333
I've used subliminal cuts
in "Cruising"
835
00:48:01,333 --> 00:48:03,750
during the murder scenes
836
00:48:03,750 --> 00:48:09,208
and in "Sorcerer"
as momentary mental flashbacks.
837
00:48:09,208 --> 00:48:11,500
I did that with sound, as well,
838
00:48:11,500 --> 00:48:14,083
but it's much
more imperceptible.
839
00:48:14,083 --> 00:48:18,375
Subliminal sounds like
the pig squealing,
840
00:48:18,375 --> 00:48:22,708
which is mixed into
the demon voice in places.
841
00:48:22,708 --> 00:48:27,166
[Growling]
842
00:48:30,750 --> 00:48:33,833
A fly that's caught in a bottle
with a microphone
843
00:48:33,833 --> 00:48:36,458
stuck down there
that's in there.
844
00:48:36,458 --> 00:48:39,333
♪♪
845
00:48:39,333 --> 00:48:42,541
I'm basically an old radio guy.
846
00:48:42,541 --> 00:48:47,000
♪♪
847
00:48:47,000 --> 00:48:50,041
My earliest influence
was dramatic radio.
848
00:48:50,041 --> 00:48:53,833
Everything was
in the imagination, everything,
849
00:48:53,833 --> 00:48:58,083
and it was through not only
the human voice and music,
850
00:48:58,083 --> 00:49:00,333
but through sound effects.
851
00:49:01,208 --> 00:49:02,750
[Thud]
852
00:49:02,750 --> 00:49:08,625
"The Exorcist" is
an experimental sound museum,
853
00:49:08,625 --> 00:49:14,000
and so when I came into film,
I was very much drawn
854
00:49:14,000 --> 00:49:18,041
to trying to continue
that kind of use of sound.
855
00:49:18,041 --> 00:49:23,416
The demon voice was sculpted
out of various sounds
856
00:49:23,416 --> 00:49:26,833
and the voice
of Mercedes McCambridge.
857
00:49:26,833 --> 00:49:31,833
[Growling, wailing]
858
00:49:37,125 --> 00:49:38,916
I had this friend from Chicago
859
00:49:38,916 --> 00:49:42,791
that I used to work with
who was basically an announcer,
860
00:49:42,791 --> 00:49:46,208
but he was a great experimenter
with sound.
861
00:49:46,208 --> 00:49:48,708
His name was Ken Nordine.
862
00:49:48,708 --> 00:49:52,166
Nordine:
Now, in this mound of think,
863
00:49:52,166 --> 00:49:58,666
in my huge,
small individual love.
864
00:49:58,666 --> 00:50:03,541
Mine, yours, anyone, anything so
related closer than any close,
865
00:50:03,541 --> 00:50:04,791
so close that...
866
00:50:04,791 --> 00:50:06,125
Friedkin:
I called him and I said,
867
00:50:06,125 --> 00:50:09,458
"Ken, can you create
a demon voice?"
868
00:50:09,458 --> 00:50:11,791
And he experimented for months,
869
00:50:11,791 --> 00:50:16,000
and I started to think,
"This -- This doesn't work.
870
00:50:16,000 --> 00:50:17,541
Why doesn't it work?"
871
00:50:17,541 --> 00:50:19,416
Well, it's the voice of a man,
872
00:50:19,416 --> 00:50:25,250
no matter how
intentionally distorted, but...
873
00:50:25,250 --> 00:50:28,458
it can't be
a woman's voice, either.
874
00:50:28,458 --> 00:50:32,875
So I start to think,
"Is there anyone...
875
00:50:32,875 --> 00:50:38,041
who sounds
both male and female?
876
00:50:38,041 --> 00:50:40,833
Sort of neuter?"
877
00:50:40,833 --> 00:50:43,208
It popped into my head
878
00:50:43,208 --> 00:50:46,500
from the old days
of dramatic radio,
879
00:50:46,500 --> 00:50:48,166
Mercedes McCambridge.
880
00:50:48,166 --> 00:50:49,708
You heard her tell how
881
00:50:49,708 --> 00:50:51,666
they're gonna run
the railroad through here,
882
00:50:51,666 --> 00:50:54,250
bring in thousands of new people
from the east.
883
00:50:54,250 --> 00:50:58,666
Farmers, dirt farmers,
squatters.
884
00:50:58,666 --> 00:51:00,875
They'll push us out.
885
00:51:00,875 --> 00:51:04,250
I show her the film
in rough cut...
886
00:51:04,250 --> 00:51:07,500
without any sound,
with Linda Blair's voice.
887
00:51:07,500 --> 00:51:10,083
What an excellent day
for an exorcism.
888
00:51:10,083 --> 00:51:12,708
But wouldn't that
drive you out of Regan?
889
00:51:12,708 --> 00:51:16,083
It would
bring us together.
890
00:51:16,083 --> 00:51:17,833
You and Regan.
891
00:51:17,833 --> 00:51:19,291
You and us.
892
00:51:19,291 --> 00:51:23,791
She said,
"Do you know anything about me?
893
00:51:23,791 --> 00:51:27,291
I was a practicing Catholic
from childhood,
894
00:51:27,291 --> 00:51:32,083
then I became a suicidal drunk,
I went through AA,
895
00:51:32,083 --> 00:51:37,333
and I can no longer
have a drink, even."
896
00:51:37,333 --> 00:51:41,583
But she said, "In order to
do what you need me
897
00:51:41,583 --> 00:51:44,291
to do with this voice,
I'm going to have to
898
00:51:44,291 --> 00:51:48,833
put alcohol down my throat,
and I'm going to have to
899
00:51:48,833 --> 00:51:53,458
several times a day
swallow raw eggs."
900
00:51:53,458 --> 00:51:58,541
And she said, "I want you
to tie me to a chair like this,
901
00:51:58,541 --> 00:52:03,000
and I will sit squatting
on the chair
902
00:52:03,000 --> 00:52:06,625
so that I feel some actual pain,
903
00:52:06,625 --> 00:52:09,958
and I will smoke again
and drink again.
904
00:52:09,958 --> 00:52:14,833
But I want these two priests in
the room who are friends of mine
905
00:52:14,833 --> 00:52:18,000
at all times
in the recording studio.
906
00:52:18,000 --> 00:52:21,625
You'll have to give them
some money for their church.
907
00:52:21,625 --> 00:52:23,958
And let's see what we can do.
908
00:52:23,958 --> 00:52:26,708
Awful lot of smoke.
909
00:52:26,708 --> 00:52:28,125
Awful lot of whiskey.
910
00:52:28,125 --> 00:52:30,833
And we went
into a recording studio.
911
00:52:30,833 --> 00:52:35,583
She'd finish a scene, go back
to the rear of the sound stage,
912
00:52:35,583 --> 00:52:37,333
where her two priests sat,
913
00:52:37,333 --> 00:52:40,791
and she would collapse
into their arms in tears.
914
00:52:43,291 --> 00:52:44,750
She was saying lines like,
915
00:52:44,750 --> 00:52:48,416
"Your mother sucks
cocks in hell, Karras."
916
00:52:48,416 --> 00:52:51,375
Every single line
that you see in the film,
917
00:52:51,375 --> 00:52:53,125
Linda Blair had to say.
918
00:52:53,125 --> 00:52:55,250
It sounds a lot different
when it's coming out of
919
00:52:55,250 --> 00:52:57,333
the mouth of
a 12-year-old, though.
920
00:52:57,333 --> 00:52:59,625
How long are you planning
to stay in Regan?
921
00:52:59,625 --> 00:53:03,041
Until she rots and lies
stinking in the earth.
922
00:53:03,041 --> 00:53:06,583
She everything that
Linda Blair said.
923
00:53:06,583 --> 00:53:09,708
Stick your cock up her ass,
you motherfucking
924
00:53:09,708 --> 00:53:11,416
worthless cock sucker.
925
00:53:11,416 --> 00:53:14,000
Be silent!
[Groans]
926
00:53:14,000 --> 00:53:17,875
And sometimes she would
simply open her mouth
927
00:53:17,875 --> 00:53:20,375
with a mic open like this.
928
00:53:21,250 --> 00:53:24,208
[Exhales]
929
00:53:24,208 --> 00:53:28,958
But out of her throat would come
three or four different sounds
930
00:53:28,958 --> 00:53:32,958
because of the booze
and the eggs and the smoke
931
00:53:32,958 --> 00:53:36,541
in the way that John Coltrane
plays the saxophone,
932
00:53:36,541 --> 00:53:40,833
where you hear three
or four notes at one time.
933
00:53:44,625 --> 00:53:48,625
I had not used
the name Mercedes McCambridge
934
00:53:48,625 --> 00:53:52,541
since I saw her in a movie
called "Giant", and again,
935
00:53:52,541 --> 00:53:55,666
it was an inspiration,
a gift from God.
936
00:53:55,666 --> 00:53:58,291
Images stick in my mind's eye.
937
00:53:58,291 --> 00:54:01,666
I'll see something,
and it'll like go into
938
00:54:01,666 --> 00:54:06,416
a mental file, and occasionally
I'll have use for it.
939
00:54:06,416 --> 00:54:09,250
Most of my films
are realistic
940
00:54:09,250 --> 00:54:12,750
because I've never been able
to tap into this surreal.
941
00:54:12,750 --> 00:54:15,708
But the surreal is
what I admire the most.
942
00:54:15,708 --> 00:54:22,666
♪♪
943
00:54:22,666 --> 00:54:29,625
♪♪
944
00:54:29,625 --> 00:54:37,333
Magritte is, to me, you know,
the greatest surrealist.
945
00:54:42,541 --> 00:54:45,166
The first thing we filmed
with Max von Sydow
946
00:54:45,166 --> 00:54:48,750
was in Georgetown,
where he arrives.
947
00:54:48,750 --> 00:54:57,458
♪♪
948
00:54:57,458 --> 00:55:03,416
That shot came from
a painting by René Magritte.
949
00:55:03,416 --> 00:55:06,500
It's called
"The Empire of Light."
950
00:55:06,500 --> 00:55:10,666
There's a street
very similar to Prospect Street
951
00:55:10,666 --> 00:55:12,875
in Georgetown.
952
00:55:12,875 --> 00:55:17,041
It's a day light sky
over a night time street,
953
00:55:17,041 --> 00:55:20,416
and this painting had
a profound effect on me,
954
00:55:20,416 --> 00:55:25,041
and I decided
to put a figure in it.
955
00:55:25,916 --> 00:55:28,333
Von Sydow, the priest.
956
00:55:28,333 --> 00:55:32,750
And have the light from
the girl's bedroom shining
957
00:55:32,750 --> 00:55:39,000
on him, which gave it
the surreal feeling
958
00:55:39,000 --> 00:55:40,666
that the Magritte painting had.
959
00:55:40,666 --> 00:55:46,041
It's remained forever the iconic
image of "The Exorcist."
960
00:55:46,041 --> 00:55:49,458
I love the paintings
of Caravaggio,
961
00:55:49,458 --> 00:55:51,541
you know,
which are mostly figures
962
00:55:51,541 --> 00:55:57,000
set against a completely black
background, dramatically lit.
963
00:55:57,000 --> 00:56:00,250
Many of them
are biblical scenes.
964
00:56:00,250 --> 00:56:03,541
Most biblical paintings
of the Renaissance
965
00:56:03,541 --> 00:56:06,291
will lay out everything
in the background.
966
00:56:06,291 --> 00:56:10,333
Caravaggio didn't bother
to try to recreate
967
00:56:10,333 --> 00:56:14,416
any of the scenes
from the Holy Land.
968
00:56:14,416 --> 00:56:19,000
He just put the figures very
powerfully in the foreground.
969
00:56:19,000 --> 00:56:24,291
His paintings are
strong, emotional, hard edged.
970
00:56:24,291 --> 00:56:27,625
They force you
to look at the figures.
971
00:56:27,625 --> 00:56:32,458
And they're almost like
Cartier-Bresson's photographs,
972
00:56:32,458 --> 00:56:36,750
moments of truth that
he selected within these events
973
00:56:36,750 --> 00:56:39,041
to highlight and isolate.
974
00:56:39,041 --> 00:56:41,500
And so it's the way in which
he did these things
975
00:56:41,500 --> 00:56:45,208
that I've often been able
to recreate to some extent,
976
00:56:45,208 --> 00:56:46,916
not to his extent.
977
00:56:46,916 --> 00:56:49,125
The light coming from one side,
978
00:56:49,125 --> 00:56:51,166
powerful foreground figures,
979
00:56:51,166 --> 00:56:54,250
and then either out of focus
or black background.
980
00:56:54,250 --> 00:56:57,083
I will do that
often unconsciously.
981
00:56:57,083 --> 00:57:02,083
And I know it's related
to my love of Caravaggio's
982
00:57:02,083 --> 00:57:04,166
incredible figures.
983
00:57:04,166 --> 00:57:07,958
Rembrandt's portraits
have influenced cinematographers
984
00:57:07,958 --> 00:57:12,666
and directors forever,
since the beginning of film.
985
00:57:12,666 --> 00:57:16,916
What he did basically
was take one source light,
986
00:57:16,916 --> 00:57:20,458
so there's a very prominent
and powerful light
987
00:57:20,458 --> 00:57:23,416
coming on a figure
from one source,
988
00:57:23,416 --> 00:57:25,166
and the rest of the light
on the face
989
00:57:25,166 --> 00:57:29,833
is a kind of a soft bounce light
from another surface
990
00:57:29,833 --> 00:57:33,666
that is not as strong
as the hot source.
991
00:57:33,666 --> 00:57:36,958
And occasionally
there'll be a bit of back light,
992
00:57:36,958 --> 00:57:38,416
but it's not emphasized.
993
00:57:38,416 --> 00:57:40,875
And that's the idea
of the way I've tried
994
00:57:40,875 --> 00:57:43,500
to shoot faces and portraits.
995
00:57:43,500 --> 00:57:50,500
Wherever I could control
the light within interiors,
996
00:57:50,500 --> 00:57:53,458
we shot it that way.
997
00:57:53,458 --> 00:57:57,833
Rembrandt basically created
a style of lighting
998
00:57:57,833 --> 00:58:01,708
that still exists
and is still relevant.
999
00:58:01,708 --> 00:58:04,000
I would go so far as to say
you could almost
1000
00:58:04,000 --> 00:58:09,250
throw everything else out,
even "The Mona Lisa."
1001
00:58:09,250 --> 00:58:14,291
I've also been influenced
by 17th century Dutch paintings,
1002
00:58:14,291 --> 00:58:18,291
in particular Vermeer.
1003
00:58:18,291 --> 00:58:21,041
The most powerful painting
I've ever seen
1004
00:58:21,041 --> 00:58:24,916
is Vermeer's "View of Delft."
1005
00:58:24,916 --> 00:58:26,666
It's just magnificent.
1006
00:58:26,666 --> 00:58:30,625
It's one of his few landscapes,
1007
00:58:30,625 --> 00:58:33,500
and it's just a group
of women on the shore
1008
00:58:33,500 --> 00:58:36,375
who are doing
their daily shopping
1009
00:58:36,375 --> 00:58:39,666
and now they're talking
to one another.
1010
00:58:39,666 --> 00:58:45,291
In the background
is the city of Delft,
1011
00:58:45,291 --> 00:58:49,041
which premieres slightly
rearranged in his picture,
1012
00:58:49,041 --> 00:58:54,000
as El Greco rearranged the view
of Toledo that he painted.
1013
00:58:54,000 --> 00:58:56,666
And there's a shaft of light
1014
00:58:56,666 --> 00:58:58,416
that hits the corner
of a building,
1015
00:58:58,416 --> 00:59:01,500
a little yellow spot
on the painting.
1016
00:59:01,500 --> 00:59:04,666
And the painting takes you
absolutely back to
1017
00:59:04,666 --> 00:59:08,375
17th century Delft.
1018
00:59:08,375 --> 00:59:11,958
You're there, you can
almost hear the conversations
1019
00:59:11,958 --> 00:59:13,500
if you give yourself to it.
1020
00:59:13,500 --> 00:59:16,041
Oh, it's such
an unexpected little thing.
1021
00:59:16,041 --> 00:59:21,875
I find that so simple and yet
so profoundly moving.
1022
00:59:21,875 --> 00:59:29,125
It's not just a dab of
reality at all.
1023
00:59:29,125 --> 00:59:32,583
It's a little grace note.
1024
00:59:33,666 --> 00:59:37,083
I certainly attempted to have
1025
00:59:37,083 --> 00:59:41,916
little grace notes
in "The Exorcist."
1026
00:59:41,916 --> 00:59:44,166
There's a shot in there
that's one of the most
1027
00:59:44,166 --> 00:59:48,666
beautiful shots
I've ever been involved with.
1028
00:59:51,250 --> 00:59:58,541
It's a shot of von Sydow
walking through a bazaar.
1029
00:59:58,541 --> 01:00:03,375
There were holes in the ceiling
where the sun poured in.
1030
01:00:03,375 --> 01:00:06,708
And I just thought,
"This is so beautiful,"
1031
01:00:06,708 --> 01:00:10,791
that I had von Sydow
walk through there.
1032
01:00:12,250 --> 01:00:17,083
The grace notes are what you
remember about any experience,
1033
01:00:17,083 --> 01:00:20,916
a person that you've met,
1034
01:00:20,916 --> 01:00:24,458
the things that we love
about the people we love,
1035
01:00:24,458 --> 01:00:28,083
or a moment in a novel
or in a movie.
1036
01:00:28,083 --> 01:00:32,916
"Citizen Kane"
is filled with grace notes.
1037
01:00:32,916 --> 01:00:35,041
Filled with grace notes.
1038
01:00:39,541 --> 01:00:42,958
Rosebud.
1039
01:00:49,000 --> 01:00:52,208
Friedkin: The story told
by Mr. Bernstein
1040
01:00:52,208 --> 01:00:57,625
to the reporter about
how he could remember
1041
01:00:57,625 --> 01:00:59,083
seeing a woman.
1042
01:00:59,083 --> 01:01:02,333
One day back in 1896,
I was crossing over
1043
01:01:02,333 --> 01:01:04,708
to Jersey on the ferry.
1044
01:01:04,708 --> 01:01:06,083
And as we pulled out,
1045
01:01:06,083 --> 01:01:08,000
there was another ferry
pulling in.
1046
01:01:08,000 --> 01:01:11,375
And on it, there was a girl
waiting to get off.
1047
01:01:11,375 --> 01:01:13,291
A white dress she had on.
1048
01:01:13,291 --> 01:01:16,208
And she was carrying
a white parcel.
1049
01:01:16,208 --> 01:01:18,416
And I only saw her
for one second.
1050
01:01:18,416 --> 01:01:21,166
She didn't see me at all.
1051
01:01:21,166 --> 01:01:24,791
But I'll bet a month
hasn't gone by since
1052
01:01:24,791 --> 01:01:27,625
that I haven't thought
of that girl.
1053
01:01:27,625 --> 01:01:32,750
That's a grace note that
tells you something profound
1054
01:01:32,750 --> 01:01:34,291
about the human experience.
1055
01:01:34,291 --> 01:01:36,166
We all have such things,
1056
01:01:36,166 --> 01:01:41,041
and they're much more important
than the larger events.
1057
01:01:42,375 --> 01:01:47,500
When Ellen Burstyn walks home
from the movie within the movie
1058
01:01:47,500 --> 01:01:54,208
that she's shooting,
you see two nuns walking,
1059
01:01:54,208 --> 01:01:57,666
and their wind just
takes their habits
1060
01:01:57,666 --> 01:02:01,541
and blows them
in kind of slow motion,
1061
01:02:01,541 --> 01:02:04,000
and she notices that moment.
1062
01:02:04,000 --> 01:02:09,166
She notices some children
running by in Halloween costume,
1063
01:02:09,166 --> 01:02:12,541
which is a kind of
quiet precursor
1064
01:02:12,541 --> 01:02:17,708
to what's to come --
children in disguise.
1065
01:02:17,708 --> 01:02:20,750
There's nothing in those scenes
that move the film
1066
01:02:20,750 --> 01:02:25,041
one inch forward,
but they're grace notes
1067
01:02:25,041 --> 01:02:29,416
that I tried to add to
the whole experience.
1068
01:02:29,416 --> 01:02:32,083
A routine I have
when I go to Chicago is
1069
01:02:32,083 --> 01:02:34,458
I'll walk down the street
to the Art Institute
1070
01:02:34,458 --> 01:02:38,291
and spend an hour or two
looking at the same paintings
1071
01:02:38,291 --> 01:02:40,000
over and over again.
1072
01:02:40,000 --> 01:02:42,750
To go back and look at these
paintings is like
1073
01:02:42,750 --> 01:02:45,208
visiting old friends.
1074
01:02:45,208 --> 01:02:48,833
The Monet collection
is unsurpassed,
1075
01:02:48,833 --> 01:02:52,583
especially "Morning on
the Seine near Giverny",
1076
01:02:52,583 --> 01:02:55,250
which is probably,
if I have such a thing,
1077
01:02:55,250 --> 01:02:58,166
it would be my favorite painting
in the world.
1078
01:03:00,958 --> 01:03:05,291
And it's nothing but
a very soft collage,
1079
01:03:05,291 --> 01:03:07,291
whites, blues, grays,
1080
01:03:07,291 --> 01:03:12,625
just harmoniously together,
nothing loud.
1081
01:03:12,625 --> 01:03:17,083
Everything in the painting
is soft, almost imperceptible.
1082
01:03:17,083 --> 01:03:20,833
It's a pure, quiet abstract.
1083
01:03:20,833 --> 01:03:26,208
It's like Ravel's music
or Debussy's music on a canvas,
1084
01:03:26,208 --> 01:03:30,666
especially the "Quartet in F"
by Maurice Ravel.
1085
01:03:30,666 --> 01:03:35,833
So there is a symbiosis for me
between art and music.
1086
01:03:37,000 --> 01:03:40,541
There are great quiet
sound effects
1087
01:03:40,541 --> 01:03:43,583
all over the movie,
and I didn't want the score
1088
01:03:43,583 --> 01:03:46,791
to drown them out,
so I didn't want a loud score
1089
01:03:46,791 --> 01:03:50,458
or a rhythmic score
or a boisterous score.
1090
01:03:50,458 --> 01:03:54,166
For the most part,
I don't like to cue the audience
1091
01:03:54,166 --> 01:03:56,500
on how they're supposed to feel.
1092
01:03:56,500 --> 01:03:59,625
I like them to find that out
for themselves.
1093
01:03:59,625 --> 01:04:03,125
There are exceptions to that,
like "Psycho",
1094
01:04:03,125 --> 01:04:07,083
where the score
tells you exactly how to feel
1095
01:04:07,083 --> 01:04:09,916
at all times, and it's great.
1096
01:04:09,916 --> 01:04:13,250
[Suspenseful music playing]
1097
01:04:13,250 --> 01:04:25,750
♪♪
1098
01:04:25,750 --> 01:04:27,541
When I finished
editing the film,
1099
01:04:27,541 --> 01:04:33,416
I went to the great composer
Bernard Herrmann,
1100
01:04:33,416 --> 01:04:35,250
who was living in London then.
1101
01:04:35,250 --> 01:04:38,875
He had had a score rejected
by Alfred Hitchcock
1102
01:04:38,875 --> 01:04:42,541
and Herrmann left America
and moved to England,
1103
01:04:42,541 --> 01:04:44,291
became an expatriate.
1104
01:04:44,291 --> 01:04:49,083
[Dramatic music playing]
1105
01:04:49,083 --> 01:04:57,000
♪♪
1106
01:04:57,000 --> 01:04:59,875
Tell the cookie
she should put that down.
1107
01:04:59,875 --> 01:05:03,708
I screened the rough cut
of "The Exorcist"
1108
01:05:03,708 --> 01:05:05,250
for Bernard Herrmann.
1109
01:05:05,250 --> 01:05:07,791
He came out after the screening,
and he said,
1110
01:05:07,791 --> 01:05:13,291
"Well, I think I can save
this piece of shit
1111
01:05:13,291 --> 01:05:16,375
if you leave it with me,
and I'll mail you a score."
1112
01:05:16,375 --> 01:05:20,166
Get rid of that first scene
in the desert out there,
1113
01:05:20,166 --> 01:05:22,625
wherever the fuck you shot that.
1114
01:05:22,625 --> 01:05:23,875
You don't need that.
1115
01:05:23,875 --> 01:05:26,083
It doesn't mean
a goddamn thing."
1116
01:05:26,083 --> 01:05:29,166
And by now, I'm a little upset.
1117
01:05:29,166 --> 01:05:33,708
And I said, "Can I ask you,
what do you have in mind?
1118
01:05:33,708 --> 01:05:35,458
How would you score this?"
1119
01:05:35,458 --> 01:05:37,250
He said,
"Well, there's a church
1120
01:05:37,250 --> 01:05:39,791
somewhere outside of
greater London.
1121
01:05:39,791 --> 01:05:43,083
It's called
St Giles Cripplegate.
1122
01:05:43,083 --> 01:05:45,333
And they have
the greatest church organ
1123
01:05:45,333 --> 01:05:46,583
that I've ever heard.
1124
01:05:46,583 --> 01:05:48,541
The sound is magnificent."
1125
01:05:48,541 --> 01:05:51,500
And I said, "You want
to use a church organ
1126
01:05:51,500 --> 01:05:53,458
in 'The Exorcist'?"
1127
01:05:53,458 --> 01:05:56,833
Man: Do you have any idea
why he wanted
1128
01:05:56,833 --> 01:05:58,333
a church organ?
1129
01:05:58,333 --> 01:06:00,125
Hell, no.
1130
01:06:00,125 --> 01:06:04,083
It seemed like a cliché to me,
and I knew I was talking
1131
01:06:04,083 --> 01:06:06,458
to the greatest composer
who ever lived.
1132
01:06:06,458 --> 01:06:08,541
I stood up and I said,
1133
01:06:08,541 --> 01:06:11,958
"Well, thank you for letting me
meet an interesting person."
1134
01:06:11,958 --> 01:06:14,166
And I left.
1135
01:06:14,166 --> 01:06:16,708
I didn't give a shit
if he was Bernard Herrmann
1136
01:06:16,708 --> 01:06:20,000
or Ludwig van Beethoven.
1137
01:06:20,000 --> 01:06:24,541
I was too close to that film
to give it to anybody
1138
01:06:24,541 --> 01:06:28,416
to add as key
an element as music.
1139
01:06:28,416 --> 01:06:35,375
This is one of the worst
disappointments of my life.
1140
01:06:35,375 --> 01:06:37,500
So I then took
the film back home,
1141
01:06:37,500 --> 01:06:41,666
and I started to use
what we call temp score.
1142
01:06:41,666 --> 01:06:45,500
I put existing music
that I had been listening to.
1143
01:06:45,500 --> 01:06:50,000
I was not looking to have
the score drive the movie.
1144
01:06:50,000 --> 01:06:54,333
I was looking
for a piece of music
1145
01:06:54,333 --> 01:06:58,666
that was like the cold hand
on the back of a neck.
1146
01:06:58,666 --> 01:07:05,333
And so I was listening to music
like Krzysztof Penderecki.
1147
01:07:05,333 --> 01:07:06,791
Polish composer.
1148
01:07:06,791 --> 01:07:11,083
[Dogs snarling]
1149
01:07:11,083 --> 01:07:17,708
♪♪
1150
01:07:17,708 --> 01:07:23,375
Anton Webern, who wrote
the quietest music ever written,
1151
01:07:23,375 --> 01:07:26,500
a piece called
"Five Pieces for Orchestra",
1152
01:07:26,500 --> 01:07:30,000
in which the music
never rises above this level.
1153
01:07:30,000 --> 01:07:32,708
[Music playing softly]
1154
01:07:32,708 --> 01:07:36,541
Man: When I touch your forehead,
open your eyes.
1155
01:07:36,541 --> 01:07:43,125
♪♪
1156
01:07:43,125 --> 01:07:45,416
He was a student
of Schoenberg,
1157
01:07:45,416 --> 01:07:50,000
sort of created
12 tone music or serial music,
1158
01:07:50,000 --> 01:07:54,333
which is not melodic
and often not even rhythmic.
1159
01:07:54,333 --> 01:07:57,750
I scored the film
1160
01:07:57,750 --> 01:08:03,125
primarily with recordings
of those pieces of music,
1161
01:08:03,125 --> 01:08:08,333
and I then took the film
with my choice of music
1162
01:08:08,333 --> 01:08:13,416
to a composer I had known called
Lalo Schifrin,
1163
01:08:13,416 --> 01:08:17,333
and I said, "Lalo, I want
the music to be a cold hand
1164
01:08:17,333 --> 01:08:18,916
on the back of your neck.
1165
01:08:18,916 --> 01:08:21,541
I don't want
anything loud or noisy
1166
01:08:21,541 --> 01:08:26,791
except maybe in a couple
of places just for accent.
1167
01:08:26,791 --> 01:08:30,666
Like where the little girl
shows writing on her chest."
1168
01:08:33,958 --> 01:08:41,583
♪♪
1169
01:08:43,958 --> 01:08:47,125
♪♪
1170
01:08:47,125 --> 01:08:48,833
He said, "I got it,
I've got it."
1171
01:08:48,833 --> 01:08:51,958
And I walk into the recording
studio at Warner Bros.,
1172
01:08:51,958 --> 01:08:57,125
and there's 80 or 90 musicians,
and they're all electrified,
1173
01:08:57,125 --> 01:09:01,958
and he plays the first cue
over the Iraqi desert.
1174
01:09:01,958 --> 01:09:07,000
And the music was blasting
and blaring and screaming.
1175
01:09:07,000 --> 01:09:10,000
And I had all these wonderful
sounds of the guys
1176
01:09:10,000 --> 01:09:15,291
digging from a distance
and from medium and close up.
1177
01:09:15,291 --> 01:09:18,583
And the music
wiped everything out.
1178
01:09:18,583 --> 01:09:21,666
It's a very complex
and interesting score,
1179
01:09:21,666 --> 01:09:25,833
but it was loud and rhythmic
and wrong.
1180
01:09:25,833 --> 01:09:28,541
And, um, I hated it!
1181
01:09:28,541 --> 01:09:31,958
[Intense music playing]
1182
01:09:31,958 --> 01:09:38,833
♪♪
1183
01:09:38,833 --> 01:09:42,666
I said, "Lalo,
this stuff is wrong.
1184
01:09:42,666 --> 01:09:44,125
Can you change it?"
1185
01:09:44,125 --> 01:09:47,208
And he said,
"No, I can't change it."
1186
01:09:47,208 --> 01:09:50,083
So I said, "It's over,
the session's over."
1187
01:09:50,083 --> 01:09:51,541
And he was
a good friend of mine,
1188
01:09:51,541 --> 01:09:56,291
and we haven't spoken since.
1189
01:09:56,833 --> 01:10:00,208
The music director of
Warner Bros. took the tracks
1190
01:10:00,208 --> 01:10:06,208
that I selected off 33 1/3 LPs
and had them re-recorded
1191
01:10:06,208 --> 01:10:09,708
in London by
a pick up orchestra.
1192
01:10:09,708 --> 01:10:11,458
That's what's in the film.
1193
01:10:11,458 --> 01:10:15,541
I still wanted something
that sounded like or vaguely
1194
01:10:15,541 --> 01:10:19,708
like Brahms' "Lullaby",
and it goes something like this.
1195
01:10:19,708 --> 01:10:26,375
♪ Ba da dum, ba da dum,
ba da da da da da da dum ♪
1196
01:10:26,375 --> 01:10:29,541
♪ Ba da da dum, da da dum ♪
1197
01:10:29,541 --> 01:10:33,916
♪ Ba da da da dum dum dum ♪
1198
01:10:33,916 --> 01:10:38,250
I would listen to one piece
after another.
1199
01:10:38,250 --> 01:10:42,666
Needle drop out, needle drop,
two seconds, out.
1200
01:10:42,666 --> 01:10:44,833
10 seconds, out.
1201
01:10:44,833 --> 01:10:49,083
Hundreds of pieces
and up comes something called
1202
01:10:49,083 --> 01:10:52,791
"Tubular Bells"
by Mike Oldfield.
1203
01:10:52,791 --> 01:10:55,750
There's no label on it.
It was handwritten on a label.
1204
01:10:55,750 --> 01:10:57,833
["Tubular Bells" playing]
1205
01:10:57,833 --> 01:11:09,958
♪♪
1206
01:11:09,958 --> 01:11:12,416
[Children shouting]
1207
01:11:12,416 --> 01:11:19,500
♪♪
1208
01:11:19,500 --> 01:11:22,333
[Motorcycle engine revs]
1209
01:11:22,333 --> 01:11:25,500
♪♪
1210
01:11:25,500 --> 01:11:29,791
It's not that unusual to have
a score done like that.
1211
01:11:29,791 --> 01:11:33,791
You have the opening
and incidental music of "2001."
1212
01:11:33,791 --> 01:11:38,416
"Thus Spake Zarathustra"
1213
01:11:38,416 --> 01:11:41,000
was conducted
by Herbert von Karajan
1214
01:11:41,000 --> 01:11:43,708
with the Vienna
Philharmonic Orchestra.
1215
01:11:43,708 --> 01:11:46,916
[Dramatic music playing]
1216
01:11:46,916 --> 01:11:54,125
♪♪
1217
01:11:54,125 --> 01:12:01,250
♪♪
1218
01:12:01,250 --> 01:12:04,083
Those were existing
recordings that Kubrick used
1219
01:12:04,083 --> 01:12:08,000
after he had commissioned
a score by Alex North
1220
01:12:08,000 --> 01:12:09,583
and rejected.
1221
01:12:09,583 --> 01:12:12,750
And the score didn't match up
to the temp track,
1222
01:12:12,750 --> 01:12:14,916
as was the case with me.
1223
01:12:14,916 --> 01:12:17,416
[Dramatic music playing]
1224
01:12:17,416 --> 01:12:26,041
♪♪
1225
01:12:26,041 --> 01:12:34,708
♪♪
1226
01:12:34,708 --> 01:12:38,041
All of those things,
the paintings and the music,
1227
01:12:38,041 --> 01:12:43,083
went a long way in influencing
how I made this film.
1228
01:12:45,375 --> 01:12:50,250
They all sort of creep
into your imagination,
1229
01:12:50,250 --> 01:12:54,833
which feeds your ideas
for a film.
1230
01:12:56,458 --> 01:13:00,541
I couldn't be a film director
if I was a skeptic.
1231
01:13:00,541 --> 01:13:02,791
I did not approach
"The Exorcist"
1232
01:13:02,791 --> 01:13:06,208
as a nonbeliever or a cynic.
1233
01:13:06,208 --> 01:13:08,500
I approached it
as a believer.
1234
01:13:08,500 --> 01:13:16,958
And to direct the film like
that, I had to separate myself
1235
01:13:16,958 --> 01:13:21,708
and my own emotions
from the act itself
1236
01:13:21,708 --> 01:13:27,000
and take the actors
into a mental environment
1237
01:13:27,000 --> 01:13:30,583
where they could separate
themselves from
1238
01:13:30,583 --> 01:13:32,583
what was being portrayed.
1239
01:13:32,583 --> 01:13:36,250
Blatty and I never talked about
a horror film
1240
01:13:36,250 --> 01:13:39,791
or effects in a horror film.
1241
01:13:39,791 --> 01:13:43,416
To me, it's more of
a chamber piece than spectacle.
1242
01:13:43,416 --> 01:13:48,083
Most of the stuff
takes place in one room,
1243
01:13:48,083 --> 01:13:50,541
in the little girl's bedroom.
1244
01:13:50,541 --> 01:13:53,666
We set out to tell this story
1245
01:13:53,666 --> 01:13:58,291
that deals with the mystery
of faith and good and evil,
1246
01:13:58,291 --> 01:14:04,083
both extreme sacrifice
and goodness and love.
1247
01:14:04,083 --> 01:14:06,541
Jesus Christ,
won't somebody help me?!
1248
01:14:06,541 --> 01:14:08,458
No, see, you don't understand.
Your daughter --
1249
01:14:08,458 --> 01:14:11,000
Could you help her?
Just help her!
1250
01:14:11,000 --> 01:14:13,750
[Sobs]
1251
01:14:15,791 --> 01:14:21,208
As I sit here now
and talk about this film,
1252
01:14:21,208 --> 01:14:25,708
probably in the mind's eye
of the people watching this,
1253
01:14:25,708 --> 01:14:28,916
they're wondering, do I believe
that there is such a thing
1254
01:14:28,916 --> 01:14:30,750
as demonic possession?
1255
01:14:30,750 --> 01:14:34,625
I have no idea.
It's one of the mysteries.
1256
01:14:34,625 --> 01:14:36,666
Do you have any
religious beliefs?
1257
01:14:36,666 --> 01:14:40,000
-No.
-What about your daughter?
1258
01:14:40,000 --> 01:14:41,916
No. Why?
1259
01:14:41,916 --> 01:14:45,125
You ever heard
of exorcism?
1260
01:14:45,125 --> 01:14:50,625
Now, I filmed what purports
to be an actual possession
1261
01:14:50,625 --> 01:14:53,333
and exorcism
by the Vatican exorcist,
1262
01:14:53,333 --> 01:14:55,291
Father Gabriele Amorth.
1263
01:14:55,291 --> 01:15:00,083
What I saw was extremely
harrowing and convincing.
1264
01:15:00,083 --> 01:15:04,083
But do I know what this was?
No, I don't.
1265
01:15:04,083 --> 01:15:05,541
There are people who say,
1266
01:15:05,541 --> 01:15:08,458
"Well, I don't buy into
any of this stuff.
1267
01:15:08,458 --> 01:15:12,583
I don't believe in possession.
I don't believe in the devil."
1268
01:15:12,583 --> 01:15:16,583
But they're watching it,
you know?
1269
01:15:16,583 --> 01:15:20,916
The truth is none of us know
anything, Alexander.
1270
01:15:20,916 --> 01:15:22,541
We don't know anything.
1271
01:15:22,541 --> 01:15:25,083
From the greatest
thinkers and philosophers
1272
01:15:25,083 --> 01:15:28,875
the world has ever known,
from St. Augustine to
1273
01:15:28,875 --> 01:15:33,500
Stephen Hawking,
we don't know anything.
1274
01:15:33,500 --> 01:15:35,250
I'm sorry.You're sorry?!
1275
01:15:35,250 --> 01:15:36,583
Jesus Christ!
1276
01:15:36,583 --> 01:15:38,375
88 doctors, and all you
can tell me
1277
01:15:38,375 --> 01:15:41,583
with all of your
bullshit is...
1278
01:15:43,291 --> 01:15:47,000
All we know is we had nothing
to say about our birth,
1279
01:15:47,000 --> 01:15:51,375
we'll no doubt have nothing
to say about the time or place
1280
01:15:51,375 --> 01:15:55,458
or means by which we die.
1281
01:15:55,458 --> 01:16:00,416
Life is so ambiguous,
which is why my films are.
1282
01:16:06,166 --> 01:16:15,000
So much of our lives
take place in our mind's eye
1283
01:16:15,000 --> 01:16:20,041
and later could become
inseparable from reality.
1284
01:16:20,041 --> 01:16:23,416
Every one of us lives
with a separate reality.
1285
01:16:26,041 --> 01:16:31,458
So I leave the question open
for a long time in the film
1286
01:16:31,458 --> 01:16:36,791
as to, is a lot of this
what's actually happening
1287
01:16:36,791 --> 01:16:45,041
in the real world,
or is it the outcome of
1288
01:16:45,041 --> 01:16:49,500
an extremely unusual event
1289
01:16:49,500 --> 01:16:53,416
that takes place
in a different way
1290
01:16:53,416 --> 01:16:56,083
to the different
people involved?
1291
01:16:57,583 --> 01:16:59,750
Karras is the only character
1292
01:16:59,750 --> 01:17:03,208
who has seen and heard
that derelict earlier.
1293
01:17:05,208 --> 01:17:09,208
Father, could you help
an old altar boy?
1294
01:17:09,208 --> 01:17:11,791
I'm a Catholic.
1295
01:17:15,416 --> 01:17:18,583
One of the reasons
that people could be affected
1296
01:17:18,583 --> 01:17:23,333
by that brief scene
in the subway is the fact
1297
01:17:23,333 --> 01:17:29,208
that the voice of the derelict
comes up later in the room
1298
01:17:29,208 --> 01:17:31,291
from Regan's mouth.
1299
01:17:31,291 --> 01:17:34,125
As he's walking away
from her bed,
1300
01:17:34,125 --> 01:17:37,208
he hears that derelict's voice.
1301
01:17:37,208 --> 01:17:42,166
Man: Can you help an old
altar boy, Father?
1302
01:17:42,166 --> 01:17:44,458
Or does he?
1303
01:17:44,458 --> 01:17:48,458
There's always the question.
1304
01:17:48,458 --> 01:17:51,458
In the same way
that you have the metal
1305
01:17:51,458 --> 01:17:54,541
appearing in Karras' dream
that was discovered
1306
01:17:54,541 --> 01:17:56,958
by Merrin in Iraq.
1307
01:17:56,958 --> 01:18:00,458
The idea of that scene
is symbiosis,
1308
01:18:00,458 --> 01:18:03,416
the idea that people are going
to be intricately involved
1309
01:18:03,416 --> 01:18:06,166
with one another at some point,
1310
01:18:06,166 --> 01:18:11,708
share images, share thoughts.
1311
01:18:11,708 --> 01:18:15,041
It's a St. Joseph medal
that's found in the cave.
1312
01:18:23,041 --> 01:18:25,666
The question is,
what is a St. Joseph medal
1313
01:18:25,666 --> 01:18:31,000
doing among all these artifacts
from centuries before?
1314
01:18:31,000 --> 01:18:33,500
And that's a question
I wanted to raise
1315
01:18:33,500 --> 01:18:36,291
in the way it's
raised in "2001."
1316
01:18:36,291 --> 01:18:39,958
We don't know to this day
what the obelisk is all about.
1317
01:18:39,958 --> 01:18:42,500
It appears at the dawn of man,
1318
01:18:42,500 --> 01:18:47,666
and then it appears
on Jupiter in 2001.
1319
01:18:47,666 --> 01:18:50,833
And then in the finale
of the film,
1320
01:18:50,833 --> 01:18:54,666
there's the obelisk again.
1321
01:18:54,666 --> 01:18:59,916
I thought it was genius using
a talisman in film like that,
1322
01:18:59,916 --> 01:19:03,875
but that's the sled
in "Citizen Kane."
1323
01:19:06,833 --> 01:19:09,958
What does all that stuff mean?
1324
01:19:09,958 --> 01:19:14,458
It's both obvious
and indecipherable.
1325
01:19:17,250 --> 01:19:21,625
I added these other shots
to the scene
1326
01:19:21,625 --> 01:19:24,916
that come out
of Merrin's experience
1327
01:19:24,916 --> 01:19:28,041
and enter Karras' dream.
1328
01:19:28,041 --> 01:19:30,916
The descending medal,
1329
01:19:30,916 --> 01:19:34,208
the St. Joseph medal
that was found in Iraq,
1330
01:19:34,208 --> 01:19:39,208
I added a barking dog
running towards the camera,
1331
01:19:39,208 --> 01:19:42,625
which is reminiscent
of the dogs in Iraq
1332
01:19:42,625 --> 01:19:46,041
that are barking around
the statue of Pazuzu
1333
01:19:46,041 --> 01:19:48,541
when Merrin confronts it.
1334
01:19:48,541 --> 01:19:51,875
The clock in Iraq that only
Merrin sees,
1335
01:19:51,875 --> 01:19:54,208
that Karras has never seen.
1336
01:19:54,208 --> 01:19:58,291
His mother emerging
from a subway kiosk.
1337
01:20:02,000 --> 01:20:08,166
There's a constant motif
of ascension in the film.
1338
01:20:09,083 --> 01:20:13,625
Which is certainly a reference
to Christianity.
1339
01:20:13,625 --> 01:20:15,750
Very subliminal.
1340
01:20:15,750 --> 01:20:19,166
If I hadn't mentioned it,
you might not notice it.
1341
01:20:23,750 --> 01:20:27,791
And she's screaming out
at him, "Dimi,"
1342
01:20:27,791 --> 01:20:29,041
which is what she called him.
1343
01:20:29,041 --> 01:20:30,916
His name was Damien.
1344
01:20:30,916 --> 01:20:34,750
You don't hear her voice.
1345
01:20:34,750 --> 01:20:40,791
And he is waving at her,
and he's shouting, "Mama, Mama."
1346
01:20:40,791 --> 01:20:42,833
But you don't hear his voice,
1347
01:20:42,833 --> 01:20:44,083
They're two separate cuts.
1348
01:20:44,083 --> 01:20:46,833
They're never in
the same frame together.
1349
01:20:46,833 --> 01:20:50,416
He sees his own mother
as she's descending
1350
01:20:50,416 --> 01:20:56,083
into a subway station, which is
telling him the possibility
1351
01:20:56,083 --> 01:20:58,875
that she's descending into hell.
1352
01:20:58,875 --> 01:21:03,458
Clearly a reference to the idea
that he was losing his mother
1353
01:21:03,458 --> 01:21:05,750
and couldn't prevent,
couldn't stop it.
1354
01:21:05,750 --> 01:21:09,875
Mama, it's Dimi, Mama.
1355
01:21:12,500 --> 01:21:14,416
Dimi.
1356
01:21:14,416 --> 01:21:17,125
Why would you do this
to me, Dimi?
1357
01:21:17,125 --> 01:21:19,083
Why?
1358
01:21:21,833 --> 01:21:24,125
Come on, I'm going to
take you out of here, Mama.
1359
01:21:24,125 --> 01:21:25,666
Mama, I'm going
to take you home.
1360
01:21:25,666 --> 01:21:27,375
[Speaking native language]
1361
01:21:27,375 --> 01:21:28,833
I'm gonna take you out of
here tonight, Mama.
1362
01:21:28,833 --> 01:21:30,666
Mama, everything's gonna
be all right.
1363
01:21:30,666 --> 01:21:32,958
[Speaking native language]Mama, I'm gonna take you home.
1364
01:21:32,958 --> 01:21:35,458
Mama, I'm gonna
take you home!
1365
01:21:35,458 --> 01:21:40,458
That idea is the source
of his guilt.
1366
01:21:41,208 --> 01:21:43,083
Oh, Christ.
1367
01:21:43,083 --> 01:21:44,791
I should have been there.
I wasn't there.
1368
01:21:44,791 --> 01:21:46,041
I should have been there.
1369
01:21:46,041 --> 01:21:47,625
There was nothing
you could do.
1370
01:21:47,625 --> 01:21:51,416
His guilt that he devoted
his life to the priesthood
1371
01:21:51,416 --> 01:21:54,750
and not to his mother's health
or well-being.
1372
01:21:54,750 --> 01:21:56,583
You killed your mother!On this your servant Regan --
1373
01:21:56,583 --> 01:21:58,125
You left her alone
to die!
1374
01:21:58,125 --> 01:21:59,666
Shut up!She'll never forgive you!
1375
01:21:59,666 --> 01:22:01,166
[Rumbling]
1376
01:22:01,166 --> 01:22:02,666
That's the principal
source of his guilt,
1377
01:22:02,666 --> 01:22:05,958
so that when we meet him
in the film,
1378
01:22:05,958 --> 01:22:09,875
he is suffering this guilt
and is losing his faith.
1379
01:22:09,875 --> 01:22:12,250
I have felt that in my life
about my mother.
1380
01:22:12,250 --> 01:22:17,041
One of the things
that bonded Blatty and me
1381
01:22:17,041 --> 01:22:21,375
was a love of our mothers.
1382
01:22:21,375 --> 01:22:26,333
Bill has a tremendous --
1383
01:22:26,333 --> 01:22:30,916
had a tremendous love
and sense of loss
1384
01:22:30,916 --> 01:22:32,958
about his mother,
1385
01:22:32,958 --> 01:22:37,375
to whom he owes
a great deal of his success.
1386
01:22:37,375 --> 01:22:42,416
And I still have a tremendous
sense of loss about my mother.
1387
01:22:42,416 --> 01:22:46,375
And that's one of the things
that bonded us over this film
1388
01:22:46,375 --> 01:22:49,666
and its overall concept.
1389
01:22:49,666 --> 01:22:52,500
Karras is the target
of the demon,
1390
01:22:52,500 --> 01:22:54,541
not the little girl.
1391
01:22:54,541 --> 01:22:57,875
[Speaking native language]
1392
01:22:57,875 --> 01:23:00,166
You're not my mother!
1393
01:23:00,166 --> 01:23:01,416
Merrin:
Don't listen.
1394
01:23:01,416 --> 01:23:02,916
Why, Dimi?
1395
01:23:02,916 --> 01:23:04,166
[Sobs]
1396
01:23:04,166 --> 01:23:05,708
Damien.
1397
01:23:05,708 --> 01:23:08,208
Dimi, please.
Damien.
1398
01:23:10,416 --> 01:23:13,000
[Low growling]Get out.
1399
01:23:13,000 --> 01:23:18,083
The demon moves right in
and is trying to show Karras
1400
01:23:18,083 --> 01:23:23,625
that his faith is worthless,
useless, ineffective.
1401
01:23:23,625 --> 01:23:28,541
That's the purpose
of the entire possession.
1402
01:23:28,541 --> 01:23:34,166
And this is an act by the devil
to show the young priest
1403
01:23:34,166 --> 01:23:39,958
that human beings are disgusting
pieces of filth at bottom.
1404
01:23:39,958 --> 01:23:43,250
Even a young, innocent child
is nothing
1405
01:23:43,250 --> 01:23:47,958
but a disgusting piece of filth,
which is what the devil
1406
01:23:47,958 --> 01:23:51,875
wants us to think
about each other.
1407
01:23:51,875 --> 01:23:55,875
Why this girl?
Doesn't make sense.
1408
01:23:55,875 --> 01:24:04,375
♪♪
1409
01:24:04,375 --> 01:24:07,166
I think the point
is to make us despair.
1410
01:24:10,458 --> 01:24:14,166
To see ourselves as...
1411
01:24:14,166 --> 01:24:16,250
animal and ugly.
1412
01:24:19,458 --> 01:24:23,541
To reject the possibility
that God could love us.
1413
01:24:23,541 --> 01:24:25,208
Woman: Open the door!
1414
01:24:25,208 --> 01:24:27,958
Do you know what she did?
1415
01:24:27,958 --> 01:24:30,250
Your cunting daughter.
1416
01:24:30,250 --> 01:24:31,916
[Screams]
1417
01:24:31,916 --> 01:24:33,875
Friedkin:
Hitler believed that.
1418
01:24:33,875 --> 01:24:38,500
[Shouting in German]
1419
01:24:45,708 --> 01:24:48,750
[Cheering]
1420
01:24:50,208 --> 01:24:51,958
Stalin believed that.
1421
01:24:51,958 --> 01:24:56,166
Stalin killed 20 million
of his own people
1422
01:24:56,166 --> 01:24:58,666
'cause he believed
they were worthless.
1423
01:24:58,666 --> 01:25:00,166
[Regan screeching]
1424
01:25:00,166 --> 01:25:02,458
How long are you planning
to stay in Regan?
1425
01:25:02,458 --> 01:25:05,375
Until she rots and lies
stinking in the earth.
1426
01:25:05,375 --> 01:25:11,375
Here's a wonderful scene
between Karras and the priest
1427
01:25:11,375 --> 01:25:15,625
played by an actual priest
named Father Birmingham.
1428
01:25:15,625 --> 01:25:17,625
I can't cut it anymore.
1429
01:25:22,375 --> 01:25:24,916
I need out. I'm unfit.
1430
01:25:28,166 --> 01:25:30,458
I think I've lost
my faith, Tom.
1431
01:25:30,458 --> 01:25:34,791
That scene as cross-cut
with what's happening to Regan.
1432
01:25:34,791 --> 01:25:36,750
Chris: He doesn't even call
his daughter on her birthday,
1433
01:25:36,750 --> 01:25:38,166
for Christ's sake.
1434
01:25:38,166 --> 01:25:39,708
Maybe the circuit
is busy.
1435
01:25:39,708 --> 01:25:41,666
Oh, circuits, my ass.
He doesn't give a shit.
1436
01:25:41,666 --> 01:25:45,166
Friedkin: And you see these two
disparate forces
1437
01:25:45,166 --> 01:25:50,541
slowly moving toward one another
as though magnetically.
1438
01:25:50,541 --> 01:25:56,666
The little girl who is being
victimized by the separation
1439
01:25:56,666 --> 01:26:00,416
of her parents and the anguish
of the mother.
1440
01:26:00,416 --> 01:26:05,000
And you see the priest,
who is losing his faith,
1441
01:26:05,000 --> 01:26:09,250
who is called upon to try
and help the little girl.
1442
01:26:09,250 --> 01:26:12,583
These three characters
are all going to come together
1443
01:26:12,583 --> 01:26:18,416
and mesh from separate worlds
drawn together by fate,
1444
01:26:18,416 --> 01:26:20,166
and that's what
it was designed to do,
1445
01:26:20,166 --> 01:26:27,416
and it was dictated to me by --
from another place.
1446
01:26:27,416 --> 01:26:32,916
I believe that we all have
such inexpressible,
1447
01:26:32,916 --> 01:26:37,791
unexplainable dreams that may
come from somewhere else,
1448
01:26:37,791 --> 01:26:41,083
that sometimes manifest
themselves as déjà vu.
1449
01:26:41,083 --> 01:26:45,833
There are so many images
and moments in life
1450
01:26:45,833 --> 01:26:52,833
that exist in some time warp
or in some other place
1451
01:26:52,833 --> 01:26:58,291
that are randomly selected
by somebody else.
1452
01:26:58,291 --> 01:27:01,916
We don't just dream
about stuff that's happened
1453
01:27:01,916 --> 01:27:04,083
or is happening to us.
1454
01:27:04,083 --> 01:27:06,291
We dream about things
from elsewhere
1455
01:27:06,291 --> 01:27:07,875
and where are they from?
1456
01:27:07,875 --> 01:27:11,166
And that is the most
important discovery I made
1457
01:27:11,166 --> 01:27:14,750
as a filmmaker,
that I could take
1458
01:27:14,750 --> 01:27:17,833
something from the life
of one character
1459
01:27:17,833 --> 01:27:21,375
and put it into
the dream life of another.
1460
01:27:21,375 --> 01:27:23,500
Well, suppose
you have a thought.
1461
01:27:23,500 --> 01:27:26,333
And suppose the thought is about
someone you're in tune with.
1462
01:27:26,333 --> 01:27:27,958
And then across
thousands of miles,
1463
01:27:27,958 --> 01:27:29,833
that person knows
what you're thinking about
1464
01:27:29,833 --> 01:27:32,875
and answers you,
and it's all mental.
1465
01:27:32,875 --> 01:27:38,666
I'm not that attracted
to ambiguity, but I do love it
1466
01:27:38,666 --> 01:27:43,625
when an audience has their
own interpretation of a film
1467
01:27:43,625 --> 01:27:46,166
that I've made or that
someone else has made.
1468
01:27:46,166 --> 01:27:49,958
And I've always believed
that what you bring to a film,
1469
01:27:49,958 --> 01:27:53,666
especially like "The Exorcist",
what you bring to it
1470
01:27:53,666 --> 01:27:56,416
is what you are going
to take away from it.
1471
01:27:56,416 --> 01:27:59,833
The end did not have
to be definitive,
1472
01:27:59,833 --> 01:28:02,541
but it had to be satisfying.
1473
01:28:02,541 --> 01:28:07,500
Many people look at the ending
of the film as ambiguous.
1474
01:28:07,500 --> 01:28:12,125
Many people think that
the the demon won,
1475
01:28:12,125 --> 01:28:15,875
that Karras and Merrin
are dead as a result
1476
01:28:15,875 --> 01:28:19,083
of the possession and exorcism.
1477
01:28:19,083 --> 01:28:21,083
That's not how I approached
the film,
1478
01:28:21,083 --> 01:28:22,875
and that isn't my belief.
1479
01:28:22,875 --> 01:28:24,541
[Regan growling]
1480
01:28:25,333 --> 01:28:27,666
[Sobbing]
1481
01:28:27,666 --> 01:28:30,125
[Groaning]
1482
01:28:33,666 --> 01:28:35,833
[Screams]
1483
01:28:35,833 --> 01:28:37,666
No!
1484
01:28:37,666 --> 01:28:40,125
[Glass shatters, Regan screams]
1485
01:28:41,083 --> 01:28:46,458
Friedkin: There's a wonderful
lyric by Bob Dylan --
1486
01:28:46,458 --> 01:28:50,166
"While preachers
preach of evil fates,
1487
01:28:50,166 --> 01:28:54,166
teachers teach that
knowledge waits.
1488
01:28:54,166 --> 01:28:59,041
But goodness stands
outside the gates.
1489
01:28:59,041 --> 01:29:05,083
And sometimes even the President
of the United States
1490
01:29:05,083 --> 01:29:08,791
must have to stand naked.
1491
01:29:08,791 --> 01:29:11,541
And if my thought dreams
could be seen,
1492
01:29:11,541 --> 01:29:14,583
they'd probably put my head
in a guillotine,
1493
01:29:14,583 --> 01:29:19,208
but it's all right, ma,
I'm only dyin'."
1494
01:29:20,791 --> 01:29:24,875
All of that is at play
in this last moment
1495
01:29:24,875 --> 01:29:27,375
of Karras' death.
1496
01:29:27,375 --> 01:29:33,125
Father Karras gives up
his life in his mind...
1497
01:29:35,500 --> 01:29:40,500
...for the life of this child
that he's never known at all.
1498
01:29:40,500 --> 01:29:43,416
He knew only the possessed girl,
1499
01:29:43,416 --> 01:29:47,708
and there's a great
feeling of sacrifice
1500
01:29:47,708 --> 01:29:52,583
that takes place in that moment,
much like Sydney Carton
1501
01:29:52,583 --> 01:29:55,583
in the end
of "A Tale of Two Cities."
1502
01:29:55,583 --> 01:29:57,875
Sydney: It's a far, far better
thing I do
1503
01:29:57,875 --> 01:30:00,041
than I have ever done.
1504
01:30:00,041 --> 01:30:06,666
It's a far, far better rest
I go to than I have ever known.
1505
01:30:06,666 --> 01:30:11,000
Friedkin: The idea of
demonic possession and exorcism
1506
01:30:11,000 --> 01:30:16,083
is the idea that the priest
calls upon Jesus Christ
1507
01:30:16,083 --> 01:30:20,416
through this ritual
to exorcise the demon.
1508
01:30:20,416 --> 01:30:22,541
And the ending of "The Exorcist"
1509
01:30:22,541 --> 01:30:25,625
contradicts what
I've just told you.
1510
01:30:25,625 --> 01:30:29,125
It's heard
by Chris and Sharon
1511
01:30:29,125 --> 01:30:31,375
in another room in this novel.
1512
01:30:31,375 --> 01:30:34,333
Blatty wrote
this entire paragraph
1513
01:30:34,333 --> 01:30:38,166
in order to not deal
with the manner
1514
01:30:38,166 --> 01:30:40,375
in which Karras commits suicide.
1515
01:30:40,375 --> 01:30:42,875
We can't cut away.
1516
01:30:42,875 --> 01:30:46,375
We don't cut away from them
during the exorcism.
1517
01:30:46,375 --> 01:30:49,541
There's a break in it
where we see Chris sitting,
1518
01:30:49,541 --> 01:30:51,125
knitting something.
1519
01:30:51,125 --> 01:30:54,166
But during the exorcism,
there could be no cutaways.
1520
01:30:54,166 --> 01:30:57,125
And I said,
"Bill, what happened there?
1521
01:30:57,125 --> 01:31:01,166
He went out the window,
obviously. How?
1522
01:31:01,166 --> 01:31:02,458
Was he possessed?"
1523
01:31:02,458 --> 01:31:07,708
"No," Bill said.
"He wasn't possessed."
1524
01:31:07,708 --> 01:31:11,000
No, he made
the conscious decision
1525
01:31:11,000 --> 01:31:13,500
to take himself out the window
1526
01:31:13,500 --> 01:31:17,916
and killing himself
with the demon inside him.
1527
01:31:17,916 --> 01:31:21,166
But you're saying to me
you want the demon to be gone
1528
01:31:21,166 --> 01:31:22,666
when he goes out the window?
1529
01:31:22,666 --> 01:31:26,208
I said,
"But, Bill, that's suicide.
1530
01:31:26,208 --> 01:31:29,625
It's a sin
in the Catholic Church."
1531
01:31:29,625 --> 01:31:32,083
Suicide is a sin.
1532
01:31:32,083 --> 01:31:36,666
It was confusing then,
it's confusing now.
1533
01:31:36,666 --> 01:31:40,500
First of all, I find it
improbable that a character
1534
01:31:40,500 --> 01:31:44,166
could call upon the devil
to enter him or her.
1535
01:31:44,166 --> 01:31:48,083
The devil does what
the devil wants to do.
1536
01:31:48,083 --> 01:31:49,333
I'm Damien Karras.
1537
01:31:49,333 --> 01:31:50,750
And I'm the devil.
1538
01:31:50,750 --> 01:31:53,583
Now kindly
undo the straps.
1539
01:31:53,583 --> 01:31:56,458
If you're the devil, why not
make those straps disappear?
1540
01:31:56,458 --> 01:31:59,791
That's much too vulgar
a display of power, Karras.
1541
01:32:07,875 --> 01:32:09,375
Did you do that?
1542
01:32:09,375 --> 01:32:13,083
Uh...
1543
01:32:16,625 --> 01:32:17,875
Do it again.
1544
01:32:17,875 --> 01:32:20,708
In time.
No, now.
1545
01:32:20,708 --> 01:32:22,833
In time.
1546
01:32:22,833 --> 01:32:25,625
If you look at the scene
and analyze it,
1547
01:32:25,625 --> 01:32:28,958
the demon enters Karras
1548
01:32:28,958 --> 01:32:32,791
because Karras invites it
to come in,
1549
01:32:32,791 --> 01:32:35,416
and he's beating up
this little girl,
1550
01:32:35,416 --> 01:32:37,166
which is an evil act.
1551
01:32:37,166 --> 01:32:39,833
You specifically see
that he says...
1552
01:32:39,833 --> 01:32:41,458
Come into me!
1553
01:32:41,458 --> 01:32:44,958
Goddamn you, take me!
1554
01:32:44,958 --> 01:32:47,125
Take me!
1555
01:32:47,125 --> 01:32:51,750
Merrin would never do what
Karras does, had he lived.
1556
01:32:51,750 --> 01:32:55,208
Grab the demon and say,
"Take me, come in to me."
1557
01:32:55,208 --> 01:32:58,916
That was not
in Merrin's wheelhouse.
1558
01:32:58,916 --> 01:33:01,125
He's got his hands
around her throat,
1559
01:33:01,125 --> 01:33:05,291
as Blatty suggests in the novel,
and she rips
1560
01:33:05,291 --> 01:33:07,958
the St. Joseph medal
off of his neck.
1561
01:33:07,958 --> 01:33:10,916
Karras looks out the windows,
1562
01:33:10,916 --> 01:33:13,458
which are open, and the curtains
are blowing.
1563
01:33:13,458 --> 01:33:16,250
He sees the face of his mother.
1564
01:33:16,250 --> 01:33:18,791
It's a two or three frame cut,
1565
01:33:18,791 --> 01:33:22,250
which is not in the book,
which Blatty questioned,
1566
01:33:22,250 --> 01:33:26,666
but ultimately went along with,
with the idea
1567
01:33:26,666 --> 01:33:32,083
that perhaps he thinks
he's going to join his mother
1568
01:33:32,083 --> 01:33:33,958
in the afterlife.
1569
01:33:33,958 --> 01:33:37,541
And at that moment,
you see for a split second
1570
01:33:37,541 --> 01:33:41,833
his features change
and become demonic
1571
01:33:41,833 --> 01:33:46,458
and sees his hands about to go
around the little girl's neck
1572
01:33:46,458 --> 01:33:48,875
to strangle her to death,
1573
01:33:48,875 --> 01:33:51,750
which is probably
the demonic impulse.
1574
01:33:51,750 --> 01:33:54,375
And then they unchange.
1575
01:33:54,375 --> 01:33:56,000
The demon is not in him,
1576
01:33:56,000 --> 01:33:58,791
and specifically
at Blatty's request.
1577
01:33:58,791 --> 01:34:03,541
And most people don't see
or even get that
1578
01:34:03,541 --> 01:34:07,041
we go back to Karras as Karras.
1579
01:34:07,041 --> 01:34:14,791
I would have kept the demon
features on Karras throughout,
1580
01:34:14,791 --> 01:34:20,708
and Bill said, "No, you have to
go back to Karras' own features
1581
01:34:20,708 --> 01:34:23,916
in the act of yelling 'No'
so that he makes
1582
01:34:23,916 --> 01:34:26,541
the conscious decision to do it.
1583
01:34:26,541 --> 01:34:29,708
Otherwise, it's the demon
that has triumphed."
1584
01:34:29,708 --> 01:34:34,083
But it isn't even clear to me
as I sit here
1585
01:34:34,083 --> 01:34:36,750
why in the hell that happens.
1586
01:34:36,750 --> 01:34:40,375
I defy anybody watching this
to tell me
1587
01:34:40,375 --> 01:34:42,083
what they make of that scene,
1588
01:34:42,083 --> 01:34:44,375
if they really look at it
and study it.
1589
01:34:44,375 --> 01:34:48,500
Why the demon decides
to pay attention to Karras,
1590
01:34:48,500 --> 01:34:52,291
leave the little girl
and go into him is a question.
1591
01:34:52,291 --> 01:34:56,333
But then I believe
that the entire possession
1592
01:34:56,333 --> 01:35:01,000
of the little girl is directed
at Karras' weakness
1593
01:35:01,000 --> 01:35:05,000
and potential loss of faith.
1594
01:35:05,000 --> 01:35:08,875
Are we to say that he
regained his faith
1595
01:35:08,875 --> 01:35:12,083
in that final moment
with the demon?
1596
01:35:12,083 --> 01:35:15,625
That's what Blatty
is trying to say.
1597
01:35:15,625 --> 01:35:19,541
He confesses his sins
in the moment of his death
1598
01:35:19,541 --> 01:35:21,625
to his friend Father Dyer,
1599
01:35:21,625 --> 01:35:25,000
and is thus forgiven
in the Catholic faith.
1600
01:35:25,000 --> 01:35:27,625
But it is a sin.
1601
01:35:27,625 --> 01:35:31,583
I think if there's a weakness
in "The Exorcist", it's that.
1602
01:35:31,583 --> 01:35:33,791
I had no alternative,
1603
01:35:33,791 --> 01:35:37,083
so I shot it the way
he explained it to me.
1604
01:35:37,083 --> 01:35:40,583
The moment is a compromise.
1605
01:35:40,583 --> 01:35:45,541
It's not often as a director
that I've had to film something
1606
01:35:45,541 --> 01:35:47,916
that I didn't
completely understand.
1607
01:35:47,916 --> 01:35:51,500
In fact, but that's the only
instance I can give you.
1608
01:35:51,500 --> 01:35:54,500
To me, it's a flaw.
1609
01:35:54,500 --> 01:35:59,416
It's like scars
in fine leather.
1610
01:35:59,416 --> 01:36:04,416
Bill, who I love and respect
and love like a brother,
1611
01:36:04,416 --> 01:36:07,000
and he gave me
this magnificent work
1612
01:36:07,000 --> 01:36:10,000
that he wrote to realize
as a film,
1613
01:36:10,000 --> 01:36:13,208
but he was never able
to come to terms
1614
01:36:13,208 --> 01:36:16,708
with that penultimate moment
in "The Exorcist",
1615
01:36:16,708 --> 01:36:18,166
and neither was I.
1616
01:36:18,166 --> 01:36:21,833
I can't defend that scene.
1617
01:36:21,833 --> 01:36:23,666
Doesn't appear to have been
a problem
1618
01:36:23,666 --> 01:36:27,583
for the millions of people
who've seen the film.
1619
01:36:27,583 --> 01:36:30,958
They accept what we showed.
1620
01:36:30,958 --> 01:36:36,458
It asks for a total
leap of faith
1621
01:36:36,458 --> 01:36:38,625
on the part of the audience.
1622
01:36:38,625 --> 01:36:45,916
♪♪
1623
01:36:45,916 --> 01:36:51,333
I went to Kyoto many years ago
when "The Exorcist" opened.
1624
01:36:53,208 --> 01:36:57,500
When you come in to Kyoto, it's
just another industrial city.
1625
01:36:57,500 --> 01:37:00,500
It looks like
Long Beach, California.
1626
01:37:00,500 --> 01:37:03,416
There's nothing of any note
until you get to
1627
01:37:03,416 --> 01:37:08,666
the Walled City,
which contains 11th century
1628
01:37:08,666 --> 01:37:13,500
and even earlier palaces
and homes.
1629
01:37:13,500 --> 01:37:21,166
And it's like a time capsule
of centuries ago.
1630
01:37:21,166 --> 01:37:25,375
And people had told me that
you must see the Zen garden.
1631
01:37:25,375 --> 01:37:30,125
Well, what the hell, I thought,
was the Zen garden.
1632
01:37:30,125 --> 01:37:34,666
I go there, and there's
a piece of land,
1633
01:37:34,666 --> 01:37:39,416
and it's a sea of combed sand.
1634
01:37:39,416 --> 01:37:44,208
And on it are several rocks.
1635
01:37:44,208 --> 01:37:51,708
Each of the rocks is placed
somewhere on this sea of sand.
1636
01:37:51,708 --> 01:37:56,041
And there's some benches around
it where people can sit down,
1637
01:37:56,041 --> 01:38:01,125
and they're there to contemplate
the Zen garden.
1638
01:38:01,125 --> 01:38:02,958
And I sat down.
1639
01:38:02,958 --> 01:38:06,583
There were maybe
only 20 people there.
1640
01:38:06,583 --> 01:38:09,000
They were very quiet.
1641
01:38:09,000 --> 01:38:12,500
And I thought, "What is this?
1642
01:38:12,500 --> 01:38:18,000
It's a bunch of rocks
placed on a sea of combed sand."
1643
01:38:18,000 --> 01:38:23,625
And now, if you give yourself
to it, this is what happened.
1644
01:38:25,666 --> 01:38:27,416
I'm looking at this thing
1645
01:38:27,416 --> 01:38:31,708
and trying to figure out
what is the attraction.
1646
01:38:31,708 --> 01:38:33,458
Why is it so famous?
1647
01:38:33,458 --> 01:38:39,083
Nobody knows when those rocks
were put there or by whom.
1648
01:38:39,083 --> 01:38:43,458
So that begins
to occupy your mind.
1649
01:38:43,458 --> 01:38:46,833
The next thing you realize
is these rocks
1650
01:38:46,833 --> 01:38:52,208
are like separate continents
that will never come together.
1651
01:38:52,208 --> 01:38:56,958
They will always live
separately like that.
1652
01:38:56,958 --> 01:39:00,875
Like the continents of Earth.
1653
01:39:00,875 --> 01:39:07,750
And then you begin to realize
they're also like people.
1654
01:39:07,750 --> 01:39:11,125
Like families living alone.
1655
01:39:11,125 --> 01:39:15,166
And then you start to realize
1656
01:39:15,166 --> 01:39:20,750
that this is human nature,
that we are all here alone.
1657
01:39:20,750 --> 01:39:25,500
No matter how close we are
to family or friends,
1658
01:39:25,500 --> 01:39:29,000
we are in this world alone.
1659
01:39:29,000 --> 01:39:31,500
And I wasn't there for --
1660
01:39:31,500 --> 01:39:35,000
it's happening to me now
just talking about it.
1661
01:39:35,000 --> 01:39:41,083
I wasn't there for 15 minutes
before I started to cry.
1662
01:39:41,083 --> 01:39:44,666
The tears started
to roll down my cheeks.
1663
01:39:44,666 --> 01:39:49,958
I was so profoundly moved
by this simple image
1664
01:39:49,958 --> 01:39:54,333
that indicated the separateness
1665
01:39:54,333 --> 01:39:58,375
with which all of us
live from each other.
1666
01:40:00,958 --> 01:40:04,916
It has moved me to this day.
1667
01:40:06,458 --> 01:40:10,166
I'll never forget
that experience of Kyoto.
1668
01:40:10,166 --> 01:40:14,583
And I'm anxious
to have it again.
1669
01:40:14,583 --> 01:40:17,000
It was probably over
40 years ago
1670
01:40:17,000 --> 01:40:19,541
that I've been there,
but there's not a day goes by
1671
01:40:19,541 --> 01:40:23,291
that I don't have images
of that experience.
1672
01:40:25,666 --> 01:40:29,041
You know, I've been
all over the world,
1673
01:40:29,041 --> 01:40:32,791
and the grace note for me
is the little Zen garden,
1674
01:40:32,791 --> 01:40:36,041
a garden of nothing
but come sand and stone.
1675
01:40:36,041 --> 01:40:46,083
♪♪
1676
01:40:46,083 --> 01:40:56,083
♪♪
1677
01:40:56,083 --> 01:41:06,125
♪♪
1678
01:41:06,125 --> 01:41:16,125
♪♪
1679
01:41:16,125 --> 01:41:26,166
♪♪
1680
01:41:26,166 --> 01:41:36,166
♪♪
1681
01:41:36,166 --> 01:41:46,208
♪♪
1682
01:41:46,208 --> 01:41:56,208
♪♪
1683
01:41:56,208 --> 01:42:06,208
♪♪
1684
01:42:06,208 --> 01:42:16,250
♪♪
1685
01:42:16,250 --> 01:42:26,250
♪♪
1686
01:42:26,250 --> 01:42:36,291
♪♪
1687
01:42:36,291 --> 01:42:46,291
♪♪
1688
01:42:46,291 --> 01:42:56,333
♪♪
1689
01:42:56,333 --> 01:43:06,333
♪♪
1690
01:43:06,333 --> 01:43:16,375
♪♪
1691
01:43:16,375 --> 01:43:26,375
♪♪
1692
01:43:26,375 --> 01:43:36,458
♪♪
124157
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