![]() I know within my community and my friendships it's fun to get people outside of the industry that aren't so cynical about what movies are. You want to see how different audiences respond to it. Sometimes you go to the deepest, darkest Exorcist fans, sometimes you go to a religious guru, sometimes you go to just a group of moms and dads that don't know anything about it. I have screenings every week for a new unsuspecting audience. What did you guys learn when you started to screen the film for friends and family or test screenings that ultimately impacted the finished film? I love talking about the editing process because it’s where it all comes together. So we're studying that, expanding on it a little bit, making sure that this film is designed for a contemporary audience, and finding what that line is of when you can linger in the world of character development and the slow burn of it, and when you need to punch them in the gut and twist. There are a couple of startling moments with Ellen in the attic in the original film or those almost subliminal Pazuzu shots that they drop into it at the most horrifying times. Then, in terms of the demons, this is not a big jump scare movie in terms of the contemporary tropes of jump scares because we're looking at the original film again. Abrupt and jarring edits I thought were really effective and keep you uncomfortable through that experience. GREEN: First of all, to credit my editor, Tim Alverson, who was very studied in the original film and the beautiful sound design work, that on Friedkin’s film, they had those hard edits, those outs without seeing the reaction or the response, sometimes in the middle of a sound. I also want to commend you on where and when you use demon shots, and I'm just curious if you guys can talk about where and when, not overdoing it, but making sure it's there. I really enjoyed some of your abrupt edits and some of your cuts. As the movie finds itself existing in the world over the next few weeks, I think a lot of those questions will be answered. The world of spirituality is so curious to me that there are so many questions that I have. The world of exorcism and possession is so vast. GREEN: The idea is we built a road map that I think has so many different avenues that we could take. ![]() So, just get the right team together, work your ass off, and make a movie.Īre you directing the trilogy or just directing this one? But to me, it's trying to bring an integrity to a franchise that means a lot to me as a movie geek. So, I’d definitely say I felt a little bit of added pressure.ĭAVID GORDON GREEN: I'm always my own worst critic, and putting pressure on myself in ways that may or may not be the healthiest. There's pressure of the IP of The Exorcist and pressure of the unique deal around the three movies. It's an unfamiliar way to make especially theatrical movies for us, so it was a new experience for me. ![]() JASON BLUM: I definitely felt pressure in a different way. I’m curious, did you actually put a little more pressure on yourself on this one because it's The Exorcist, it's 50 years later, and also because Universal bought a trilogy and spent a bunch of money to work with you guys on these films? And because it's not an Exorcist film without a few demons, they also discuss the process in selecting the right demon for a new generation of Exorcist stories.ĬOLLIDER: I am very impressed with what you pulled off with this film. ![]() They also talk about paying tribute to the original film, how much of the new trilogy they have figured out, and how editing really brings the film together. ![]() In an interview with Collider's Steve Weintraub, Green and Blum discuss the pressure of continuing such a well-known and beloved franchise. In their search for answers, they track down Chris MacNeil ( Ellen Burstyn, reprising her role from the original film), whose daughter Regan ( Linda Blair) had a, shall we say, similar demonic experience. Directed by David Gordon Greene, and produced in part by superstar horror producer Jason Blum, The Exorcist: Believer follows Victor ( Leslie Odom Jr.), as well as other parents played by Jennifer Nettles and Norbert Leo Butz whose children become possessed. ![]()
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