User:Pedro thy master/The Exorcist series

The Exorcist series
Directed by	William Friedkin John Boorman William Peter Blatty
Written by	William Peter Blatty (The Exorcist, The Exorcist III) William Goodhart Uncredited: John Boorman Rospo Pallenberg (The Exorcist II)
Produced by	Carter DeHaven John Boorman William Peter Blatty Noel Marshall
Starring	Ellen Burstyn Linda Blair Max von Sydow Jason Miller Lee J. Cobb and Mercedes McCambridge (The Exorcist) Linda Blair Richard Burton Louise Fletcher Max von Sydow (The Exorcist II) George C. Scott Brad Dourif Nicol Williamson Jason Miller(The Ecorcist III)
Cinematography	Gerry Fisher William A. Fraker Gerry Fisher
Edited by	Peter Lee Thompson Todd Ramsay Tom Priestley Norman Gay
Music by	Barry Devorzon Ennio Morricone Jack Nitzsche Mike Oldfield
Distributed by	Warner Bros.(I and II) 20th Century Fox(III)
Release date	1973 1990
Running time	Theatrical cut 350 min. Director's Cut 360 min.(all three films)
Country	United States
Languages	English Assyrian Neo-Aramaic Latin Greek French German Arabic
Budget	US$450 million (all three films)
Box office	$459,347,966 (total, worldwide, all three films)

The Exorcist film series consists of three Horror Films based on the fictional story from the novel The Exorcist, created by William Blatty. the movie has been distrubuted by Warner Bros. and 20th Century Fox.

The series, produced on a total budget of US$450 million, grossed $459,347,966 worldwide. Critics have given the films positive to mixed reviews. The series has had preaquels over the years. The movie has been realesed on DVD and Blue-ray.

The agency representing Blair brought her in to try out for the role. Pamelyn Ferdin, a veteran of science fiction and supernatural drama, was a candidate, but the producers may have felt she was too well-known. Denise Nickerson, who played Violet Beauregarde in Willy Wonka & The Chocolate Factory, was considered, but her parents pulled her out, troubled by the material. At one point the search for a young actress capable of playing Regan was so trying that Friedkin claims he even considered auditioning adult dwarf actors. The part went instead to Blair, a relative unknown except for a role in The Way We Live Now.

The studio wanted Marlon Brando for the role of Father Merrin.^[1] Friedkin immediately vetoed this by stating it would become a "Brando movie." Jack Nicholson was up for the part of Father Karras before Stacy Keach was hired by Blatty. Friedkin then spotted Miller in a Broadway play. Even though Miller had never acted in a movie, Keach's contract was bought out by Warner Bros. and Miller was cast. (Blatty would later give Keach the leading role in The Ninth Configuration.) Jane Fonda and Shirley MacLaine were approached to play Chris MacNeil. Fonda reportedly called the project a "capitalist piece of shit."^[2] Audrey Hepburn was approached, but said she would only agree if the film were to be shot in Rome. Anne Bancroft was another choice, but she was in her first month of pregnancy. Burstyn then agreed to do the movie.

Before Linda Blair agreed to reprise her role of the (now teenaged) Regan MacNeil for Exorcist II, producers considered casting Melissa Sue Anderson, Rosanna Arquette, Jamie Lee Curtis, Jodie Foster, Mariel Hemingway, Helen Hunt, Jennifer Jason Leigh, Kristy McNichol, Tatum O'Neal or Brooke Shields. However, she refused to wear demon make-up (a double was used for the brief flashback scenes depicting a demonic Regan). John Boorman contacted William O'Malley to reprise his role as Father Joseph Dyer from the first film; however, O'Malley was busy and could not take up the part, the character of Father Dyer was changed to Father Philip Lamont. Jon Voight, David Carradine, Jack Nicholson and Christopher Walken all were considered or offered the part of Father Lamont, who John Boorman initially conceived as a younger priest in awe of Father Merrin's writings. Voight agreed to sign on, but later dropped out over script concerns. David Carradine was locked in a financial dispute with his television show Kung Fu, and Jack Nicholson's salary was deemed too high. Eventually the choice was made to age the character, and Richard Burton was signed for the role. Linda Blair claims Burton was charming and likable on-set, but drank heavily the longer the shoot went on.

The role of Dr. Gene Tuskin was originally written for a man, with Chris Sarandon and George Segal both considered. When the gender of the character was changed, both Ann-Margret and Jane Fonda were under consideration. Louise Fletcher, who had just won the Academy Award for Best Actress for One Flew Over the Cuckoo's Nest (1975), accepted the part.

The central role of Lieutenant Kinderman had to be recast as Lee J. Cobb, who played the part in The Exorcist, had passed away in 1976. Oscar-winner George C. Scott signed up for the role, impressed by Blatty's screenplay: "It’s a horror film and much more... It's a real drama, intricately crafted, with offbeat interesting characters, and that's what makes it genuinely frightening."^[3] Jason Miller reprises the role of Father Damien Karras from The Exorcist but is billed only as "Patient X" in the end credits. Ed Flanders was originally supposed to appear as the asylum warden Dr. Temple (instead portrayed by Scott Wilson) but assumed the role of Father Dyer as William O'Malley (who played the part in the first Exorcist movie) was too busy to reprise the role. Basketball player Patrick Ewing and model Fabio have cameo appearances in a dream sequence (Ewing is an alumnus of Georgetown University, in which Exorcist III was partially filmed and set in), while John Thompson appears in a long shot. Ex-Surgeon General C. Everett Koop and television host Larry King appear as themselves in The Tombs, a local Georgetown restaurant where Kinderman has lunch with Father Dyer. The film also includes early appearances by Tyra Farrell as a nurse and Samuel L. Jackson as a blind man. Actor Grand L. Bush was hand-picked by Blatty to perform opposite Scott as Kinderman’s partner. The movie also features Zohra Lampert as Kinderman's wife, Viveca Lindfors as the mental patient who disguises herself as a nurse and attempts to decapitate Julie, and an uncredited Teresa Wright.

Warner Bros. had approached Stanley Kubrick (who thought it was run-of-the-mill horror), Arthur Penn (who was teaching at Yale), Peter Bogdanovich (who wanted to pursue other projects, subsequently regretting the decision) and Mike Nichols (who didn't want to shoot a film so dependent on a child's performance). John Boorman (who would direct Exorcist II: The Heretic) said he didn't want to direct it because it was "cruel towards children". Following the success of The French Connection (1971) the studio finally agreed to sign William Friedkin for the film.

Friedkin went to some extraordinary lengths, reminiscent of D.W. Griffith's manipulation of the actors, to get the genuine reactions he wanted. Yanked violently around in harnesses, both Blair and Burstyn suffered back injuries and their painful screams went right into the film. Burstyn later reported that she had permanent back injury after landing on her coccyx when a stuntman jerked her via cable during the scene when Regan slaps her mother. After asking Reverend William O'Malley if he trusted him and being told yes, Friedkin slapped him hard across the face before a take to generate a deeply solemn reaction that was used in the film, as a very emotional Father Dyer read last rites to Father Karras; this offended the many Catholic crew members on the set. He also fired a gun without warning on the set to elicit shock from Jason Miller for a take. Lastly, he had Regan's bedroom set built inside a freezer so that the actors' breath could be visible on camera, which required the crew to wear parkas and other cold-weather gear.

British filmmaker John Boorman signed on as director, claiming that "the idea of making a metaphysical thriller greatly appealed to my psyche."^[4] Years before, Boorman had been considered by Warner Bros. as a possible director for the first Exorcist movie, but he turned the opportunity down as he found the story "rather repulsive."^[5] Boorman, however, was intrigued with the idea of directing a sequel, explaining that "every film has to struggle to find a connection with its audience. Here I saw the chance to make an extremely ambitious film without having to spend the time developing this connection. I could make assumptions and then take the audience on a very adventurous cinematic journey."^[6]

Exorcist II began filming in May 1976, at a budget of $12.5 million (the film ultimately cost $14 million to make). Although Boorman wanted to film the majority of the film on location (including Ethiopia and The Vatican), many of Boorman's plans proved to be impossible, resulting in key exterior scenes having to be filmed set-bound at the Warners backlot. Even the MacNeil house in Georgetown had to be replicated in the studio, as the filmmakers were refused permission to film at the original house. The filmmakers also had to replicate the infamous "Hitchcock Steps" adjacent to the MacNeil house, as they were refused permission by Washington city officials to shoot scenes by the real steps.^[7]

A key scene of a sleepwalking Regan about to wander off a rooftop was filmed in New York atop 666 Fifth Avenue (where Warner Bros. offices were then located). With no stunt person and no special effects, the shot showed Linda Blair's feet on the edge of the building with Fifth Avenue down below. Some crew members found the filming of this scene so frightening to watch that they left the rooftop. The shot was accomplished with Blair lying flat on her back, positioned so her knees were raised and her toes were at the roof's edge. The cameraman, wearing a nightgown and a secure harness, stood above Blair with the nightgown draped over her raised knees and his camera aimed down toward Fifth Avenue.^[8]

Exorcist II was beset by numerous problems during production. Boorman himself contracted a dose of San Joaquin Valley Fever (a respiratory fungal infection), which cancelled production for over a month (a costly delay). Other problems included footage being over-saturated and necessitating re-shoots, the rapid deaths of locusts imported from England for the film’s climactic scenes (2500 locusts were shipped in, and died at a rate of 100 a day); original film editor John Merritt quitting the production (he was replaced by Tom Priestley); and stars Kitty Winn and Louise Fletcher both suffering from gall bladder infections.^[9]

William Goodhart based his script, originally only titled "The Heretic", around the theories of Pierre Teilhard de Chardin (the Jesuit paleontologist/archaeologist who inspired the character of Father Merrin when Blatty wrote The Exorcist). Teilhard de Chardin's notion of humanity evolving to form a telepathic whole was incorporated into the story; the screenplay also would provide a more explicit explanation for that which was kept ambiguous in the first movie; namely, what exactly had possessed Regan, and why. Blatty was shown a copy of Goodhart's original screenplay by Warners, and that was the extent of his involvement with the production of Exorcist II. According to Richard Lederer, Exorcist II was conceived as a relatively low-budget affair: "What we essentially wanted to do with the sequel was to redo the first movie...Have the central figure, an investigative priest, interview everyone involved with the exorcism, then fade out to unused footage, unused angles from the first movie. A low-budget rehash - about $3 million - of The Exorcist, a rather cynical approach to movie-making, I'll admit. But that was the start."^[10]

Director John Boorman however was unhappy with William Goodhart's script, and asked Goodhart to do a rewrite, incorporating ideas from Rospo Pallenberg. Goodhart refused, and so the script was subsequently rewritten by Pallenberg and Boorman (onscreen, final screenplay credit goes to Goodhart alone, although Pallenberg does receive a credit as "Creative Associate"). The script was being constantly rewritten even as the film was shooting, with the filmmakers uncertain as to how the story should end. Actress Linda Blair said "It was a really good script at first. Then after everybody signed on they rewrote it five times and it ended up nothing like the same movie."^[11]

Based on the 1971 novel by William Peter Blatty, The Exorcist marries three scenarios into one plot.

The movie opens with Father Merrin (Max von Sydow) on an archaeological dig in Al-hadar near Nineveh in Iraq. He is then brought to a near-by hole where a small stone is found, resembling a grimacing, bestial creature. After talking to one of his supervisors, he then travels to a spot where a strange statue stands, specifically Pazuzu, with a head similar to the one he found earlier. He sees an ominous figure and two dogs fight loudly nearby, setting the tone for the rest of the film.

Father Philip Lamont (Richard Burton), who is struggling with his faith, is assigned by the Cardinal (Paul Henreid) to investigate the death of Father Lankester Merrin (Max von Sydow), who had been killed four years prior in the course of exorcising the Assyrian demon Pazuzu from Regan MacNeil (Linda Blair). The Cardinal informs Lamont (who has had some experience at exorcism, and has been exposed to Merrin's teachings) that Merrin is up on posthumous heresy charges. Some Church authorities are not sure the exorcism should have been performed (even though it had been officially approved by the local Bishop); also, Merrin’s writings are considered very controversial. Apparently, Church authorities are trying to modernize and do not want to acknowledge that Satan (in terms of an actual evil entity) exists.

It is a film adaptation of his 1983 novel, Legion, and stars George C. Scott including several cast members - Jason Miller, Ed Flanders, Scott Wilson, and George DiCenzo - from his previous film The Ninth Configuration.

The story takes place 15 years after the events of The Exorcist (ignoring Exorcist II: The Heretic ^[12]) and centers around the philosophical police detective William F. Kinderman from the first film, who is investigating a baffling series of murders in Georgetown that appear to have a satanic motive behind them and furthermore have all the hallmarks of "The Gemini", a deceased serial killer (portrayed by Brad Dourif.)

Originally titled Legion, the film was drastically changed in post-production after re-writes and re-shoots ordered by the studio executives of Morgan Creek Productions, ^[13] demanding the last-minute addition of an exorcism sequence, and the film was released as The Exorcist III in order to be more commerical. The final version differed from Blatty's vision; and all of the original footage is apparently lost. ^[14]

The plot revolves around the crisis of faith suffered by Father Merrin (Stellan Skarsgård) following the horrific events he witnessed during World War II.

After WWII, Merrin is an archaeologist in Cairo, when he is approached by a collector of antiquities who asks him to come to a British excavation in the Turkana region of Kenya. This dig is excavating a Christian Byzantine church from the 5th century — long before Christianity had reached that region. Further, the church is in perfect condition, as though it had been buried immediately after the construction was completed. Merrin is asked to participate in the dig and find an ancient relic hidden in the ruins before the British do. Merrin takes the job, but soon discovers that all is not well — something evil lies in the church and is infecting the region. The local tribesman hired to dig refuse to enter the building, and there are stories of an epidemic that wiped out an entire village. However, when Merrin, growing suspicious of these rumors, digs up one of the graves of the supposed victims of this plague, he discovers it is empty. Meanwhile, the evil grows, turning people against each other and resulting in violence, atrocities, and more bloodshed

Many years before the events in The Exorcist, the young Father Lankester Merrin (played by Skarsgård, who played the same part in the Exorcist: The Beginning) travels to East Africa. Merrin has taken a sabbatical from the Church and devoted himself to history and archaeology as he struggles with his shattered faith. He is haunted especially by an incident in small village in occupied Holland during World War II, where he served as parish priest. Near the end of the war, a sadistic Nazi SS commander, in retaliation for the murder of a German trooper, forces Merrin to participate in arbitrary executions in order to save a full village from slaughter.

He meets up with a team of archaeologists, who are seeking to unearth a church that they believe has been buried for centuries. At first, Merrin resists the idea that supernatural forces are in play, but eventually helps them, and the ensuing events result in an encounter with Pazuzu, the same demon referenced in The Exorcist.

Some claim the film was cursed. Blatty has stated on video^[15] some strange occurrences. Burstyn indicated some rumors to be true in her 2006 autobiography Lessons in Becoming Myself. The interior sets of the MacNeil residence, except for Regan's bedroom, were destroyed by a studio fire and had to be rebuilt. Friedkin has claimed that a priest was brought in numerous times to bless the set. Other issues include Blair's harness breaking when she is thrashing on the bed, injuring the actress. Burstyn noted she was slightly hurt when Regan throws her across the room. Actor Jack MacGowran (Burke Dennings) died during filming.

Contortionist Linda R. Hager was hired to perform the infamous "spider-walk scene" that was filmed on April 11, 1973. Friedkin deleted the scene just prior to the original December 26, 1973 release date because he felt it was ineffective technically. However, with advanced developments in digital media technology, Friedkin worked with CGI artists to make the scene look more convincing for the 2000 theatrically re-released version of The Exorcist: The Version You've Never Seen. Since the original release, myths and rumors still exist that a variety of spider-walk scenes were filmed^[16] despite Friedkin's insistence that no alternate version was ever shot^[17].

In 1998, Warner Brothers re-released the digitally remastered DVD of The Exorcist: 25th Anniversary Special Edition. This DVD includes the special feature BBC documentary, The Fear of God: The Making of The Exorcist,^[18] highlighting the never-before-seen original non-bloody version of the spider-walk scene. The updated "bloody version" of the spider-walk scene appears in the 2000 re-release of The Exorcist: The Version You've Never Seen utilizing CGI technology to incorporate the special effect of blood pouring from Regan's mouth during this scene’s finale.

Despite his misgivings about the studio-imposed reshoots, Blatty however is proud of the finished version of Exorcist III, having said “It’s still a superior film. And in my opinion, and excuse me if I utter heresy here, but for me it’s a more frightening film than The Exorcist."^[3] Nevertheless, Blatty had hoped to recover the deleted footage from the Morgan Creek vaults so that he might re-assemble the original cut of the film which he said was "rather different" from what was released, and a version of the film fans of the Exorcist series have been clamouring for. In 2007, Blatty's wife reported on a fan site that "My husband tells me that it is Morgan Creek's claim that they have lost all the footage, including an alternate opening scene in which Kinderman views the body of Karras in the morgue, right after his fall down the steps." Although, Mark Kermode has stated that the search for the missing footage is "ongoing". ^[19]

An upcoming book titled The Evolution Of William Peter Blatty's The Exorcist III: From Concept To Novel To Screen by author Erik K. Myers will reveal the whole story behind the film's development, and publish never-before-seen images, the original script, studio notes, various drafts of the story as it has evolved, and interviews with Blatty, Brad Dourif, Mark Kermode, John Carpenter, and many others associated with the film. ^[14] Myers in an interview said that The Exorcist III "has sort of turned into horror genre’s equivalent to Orson Welles' The Magnificent Ambersons, in that it was originally a very classy film that the studio hacked apart and turned into a commercial piece [...] I'm basically trying to chronicle how a film can get away from the auteur and be transformed into a purely commercial product." ^[20]

I:Upon its release on December 26, 1973, the film received mixed reviews from critics, “ranging from ‘classic’ to ‘claptrap'."^[21] Stanley Kauffmann, in The New Republic, wrote, “This is the most scary film I’ve seen in years — the only scary film I’ve seen in years…If you want to be shaken — and I found out, while the picture was going, that that’s what I wanted — then The Exorcist will scare the hell out of you.”^[22] Variety noted that it was “an expert telling of a supernatural horror story…The climactic sequences assault the senses and the intellect with pure cinematic terror.”^[23] In Castle of Frankenstein, Joe Dante opined, “[A]n amazing film, and one destined to become at the very least a horror classic. Director William Friedkin’s film will be profoundly disturbing to all audiences, especially the more sensitive and those who tend to 'live' the movies they see…Suffice it to say, there has never been anything like this on the screen before.”^[24]

However, Vincent Canby, writing in the New York Times, dismissed The Exorcist as “a chunk of elegant occultist claptrap…[A] practically impossible film to sit through…it establishes a new low for grotesque special effects...”^[25] Andrew Sarris complained that “Friedkin’s biggest weakness is his inability to provide enough visual information about his characters…whole passages of the movie’s exposition were one long buzz of small talk and name droppings…The Exorcist succeeds on one level as an effectively excruciating entertainment, but on another, deeper level it is a thoroughly evil film.”^[26] Writing in Rolling Stone, Jon Landau felt the film was, “[N]othing more than a religious porn film, the gaudiest piece of shlock this side of Cecil B. DeMille (minus that gentleman’s wit and ability to tell a story) …”^[27]

Over the years, The Exorcist’s critical reputation has grown considerably. The film currently has an 85% "Certified Fresh" approval rating on the Rotten Tomatoes website, based on 40 reviews the website collected.^[28] Some critics regard it as being one of the best and most effective horror films; admirers say the film balances a stellar script, gruesome effects, and outstanding performances. However, the movie has its detractors as well, including Kim Newman who has criticized it for messy plot construction, conventionality and overblown pretentiousness, among other perceived defects. Writer James Baldwin provides an extended negative critique in his book length essay The Devil Finds Work.

II: Stephen H. Scheuer wrote that Exorcist II “may just well be the worst sequel in the history of films – a stupefying, boring, vapid and non-scary follow-up to the box-office champ of 1973...Exorcist II is a disaster on every level – a sophomoric script, terrible editing, worst direction by John Boorman, inevitably coupled with silly acting. In one scene that typifies this lamentable sci-fi horror pic, [Richard] Burton and [James Earl] Jones, two splendid actors, are spouting inane dialogue while Jones is outfitted like a witch doctor.”^[29] Leslie Halliwell described the film as a “highly unsatisfactory psychic melodrama which...falls flat on its face along some wayward path of metaphysical and religious fancy. It was released in two versions and is unintelligible in either.”^[30] Leonard Maltin described the film as a “preposterous sequel...Special effects are the only virtue in this turkey.”^[31] Danny Peary dismissed Exorcist II as “absurd.”^[32]

While most reviewers responded negatively to the film, Pauline Kael greatly preferred Boorman's sequel to the original, writing in her review in The New Yorker that Exorcist II "had more visual magic than a dozen movies." Since Exorcist II's initial release, some notable critics and directors have praised the film. Kim Newman wrote in Nightmare Movies (1988) that "it doesn't work in all sorts of ways... However, like Ennio Morricone's mix of tribal and liturgical music, it does manage to be very interesting." Director Martin Scorsese asserted, "The picture asks: Does great goodness bring upon itself great evil? This goes back to the Book of Job; it's God testing the good. In this sense, Regan (Linda Blair) is a modern-day saint — like Ingrid Bergman in Europa '51, and in a way, like Charlie in Mean Streets. I like the first Exorcist, because of the Catholic guilt I have, and because it scared the hell out of me; but The Heretic surpasses it. Maybe Boorman failed to execute the material, but the movie still deserved better than it got."^[33]

Author Bob McCabe's book The Exorcist: Out of the Shadows contains a chapter on the film in which Linda Blair said the movie "was one of the big disappointments of my career,"^[34] and John Boorman confessed that “The sin I committed was not giving the audience what it wanted in terms of horror...There’s this wild beast out there which is the audience. I created this arena and I just didn’t throw enough Christians into it. People think of cutting and re-cutting as defeat, but it isn’t. As Irving Thalberg said: ‘Films aren’t made, they’re remade.’”^[35] McCabe himself offered no one answer as to why Exorcist II failed: "Who knows where the blame ultimately lies. Boorman's illness and constant revising of the script can't have helped, but these events alone are not enough to explain the film's almighty failure. Boorman has certainly gone on to produce some fine work subsequently...When a list was compiled to find the fifty worst movies ever made, Exorcist II: The Heretic came in at number two. It was beaten only by Ed Wood's Plan 9 from Outer Space, a film that generally receives a warmer response from its audience than this terribly misjudged sequel."^[36]

III:The film met with mixed reviews. New York Times reviewer Vincent Canby said "The Exorcist III is a better and funnier (intentionally) movie than either of its predecessors" ^[37] and British film critic Mark Kermode called it "a restrained, haunting chiller which stimulates the adrenalin and intellect alike." ^[38] However Owen Gleiberman of Entertainment Weekly gave a negative review, stating "If Part II sequels are generally disappointing, Part IIIs are often much, much worse. It can seem as if nothing is going on in them except dim murmurings about the original movie — murmurings that mostly remind you of what isn't being delivered." Gleiberman called The Exorcist III "an ash-gray disaster" and that it "has the feel of a nightmare catechism lesson, or a horror movie made by a depressed monk." ^[39] Kim Newman claimed that "The major fault in Exorcist III is the house-of-cards plot that is constantly collapsing." ^[40] Kevin Thomas of Los Angeles Times gave a mixed review, saying Exorcist III "doesn't completely work but offers much more than countless, less ambitious films." ^[41]

The Exorcist was nominated for a total of ten Academy Awards in 1973. At the 46th Annual Academy Awards ceremony, the film won two statuettes.^[42]

• Academy Award for Sound
• Academy Award for Writing Adapted Screenplay – William Peter Blatty

The film was nominated for

• Academy Award for Best Picture
• Academy Award for Best Actress – Ellen Burstyn
• Academy Award for Best Supporting Actor – Jason Miller
• Academy Award for Best Supporting Actress – Linda Blair
• Academy Award for Best Director – William Friedkin
• Academy Award for Best Cinematography
• Academy Award for Film Editing
• Academy Award for Best Art Direction – Bill Malley and Jerry Wunderlich

The Exorcist was nominated for a total of five Golden Globes in 1973. At the Golden Globes ceremony that year, the film won four awards.

• Golden Globe Award for Best Motion Picture - Drama
• Golden Globe Award for Best Director - Motion Picture – William Friedkin
• Golden Globe Award for Best Supporting Actress - Motion Picture – Linda Blair
• Golden Globe Award for Best Screenplay

The film was nominated for

• Golden Globe Award for Best Supporting Actor - Motion Picture – Max Von Sydow

American Film Institute recognition

• AFI's 100 Years... 100 Thrills – #3
• AFI's 100 Years... 100 Heroes and Villains
  • Regan MacNeil – Villain #9

In 1991, the Exorcist III won a Saturn Award from the Academy of Science Fiction, Fantasy & Horror Films, USA, for Best Writing (William Peter Blatty) and was nominated for Best Supporting Actor (Brad Dourif) and Best Horror Film. However it was also nominated for Worst Actor (George C. Scott) at the Golden Raspberry Awards. ^[43]

A limited edition box set was released in 1998. It was limited to 50,000 copies, with available copies circulating around the Internet. There are two versions; a special edition VHS and a special edition DVD. The only difference between the two copies is the recording format.

• The original film with restored film and digitally remastered audio, with a 1.85:1 widescreen aspect ratio.
• An introduction by director William Friedkin
• The 1998 BBC documentary The Fear of God: The Making of "The Exorcist"
• 2 audio commentaries
• Interviews with the director and writer
• Theatrical trailers and TV spots

• A commemorative 52-page tribute book, covering highlights of the film's preparation, production, and release; features previously-unreleased historical data and archival photographs
• Limited edition soundtrack CD of the film's score, including the original (unused) soundtrack (Tubular Bells and Night of the Electric Insects omitted)
• 8 lobby card reprints.
• Exclusive senitype film frame (magnification included)

In an interview with DVD Review, William Friedkin mentioned that he is scheduled to begin work on a 'The Exorcist' Blu-ray on December 2 2008. This edition will feature a new restoration, including both the 1973 theatrical version and the "version you've never seen" from 2000. The release is currently scheduled for Fall 2010. ^[44]

• Official site
• The Exorcist at IMDb
• The Exorcist Fansite
• ‹The template AllMovie title is being considered for deletion.› The Exorcist at AllMovie
• The Exorcist at Box Office Mojo
• The Haunted Boy of Cottage City: The Cold Hard Facts Behind the Story that Inspired The Exorcist, by Mark Opsasnick
• Jason Miller Remembers The Exorcist

Awards
Preceded by The Godfather	Golden Globe for Best Picture - Drama 1974	Succeeded by Chinatown