They also talk about choosing the right demon for 'The Exorcist: Believer.'
The Big Picture 50 years ago, a little girl's demonic possession launched a new film — and eventually an entire franchise — into the pantheon of horror greats with William Friedkin's The Exorcist. In the years since, the original 1973 film has spawned two sequels, two prequels, and a short-lived television series.
COLLIDER: I am very impressed with what you pulled off with this film. 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?
GREEN: The idea is we built a road map that I think has so many different avenues that we could take. The world of exorcism and possession is so vast. The world of spirituality is so curious to me that there are so many questions that I have. As the movie finds itself existing in the world over the next few weeks, I think a lot of those questions will be answered.
I really enjoyed some of your abrupt edits and some of your cuts. Very well done. 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 love talking about the editing process because it’s where it all comes together. 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?
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