From left: Norbert Leo Butz, Olivia O’Neill, and Jennifer Nettles —PHOTOS COURTESY OF UNIVERSAL PICTURES INTERNATIONAL
Half a century after its groundbreaking release, William Friedkin’s “The Exorcist” is receiving a contemporary makeover with Universal Pictures’ “The Exorcist: Believer.” Directed by David Gordon Green (known for the “Halloween” movies), this new film serves as a direct sequel to the original and follows retired actress Chris MacNeil (Oscar winner Ellen Burstyn), who is now estranged from her daughter Regan (Oscar nominee Linda Blair). Chris returns to the franchise to assist single father Victor Fielding (Tony winner Leslie Odom Jr. of “Hamilton”) in saving his teenage daughter Angela (Lidya Jewett) and her best friend Katherine (Olivia O’Neill) from demonic possession.
In an interview last Friday, David stated, “People still adore ‘The Exorcist’ because it was never intended to be a mere fad. It never relied on cheap tricks or gimmicks. If you analyze the film closely, it lacks sudden startling moments of any kind. With ‘Believer,’ we aimed to capture that essence and introduce some ambiguity to the timeline. We deliberately avoided relying on technology and focused on practical visual effects, from makeup to real fire in the fireplace. We put great effort into making the film feel grounded.”
“Despite a few visual and special effects, ‘The Exorcist’ has managed to withstand the test of time, including its iconic head-spinning scene and other memorable moments. Watching it now, it feels as though it could have been made yesterday—it’s just as impactful as it was in 1973, largely because it ignored the clichés of traditional horror filmmaking.”
Immersive Experience
We watched the film alone in a cold, dark preview room and were genuinely frightened. “The Exorcist: Believer” brilliantly blends formulaic elements, exceptional performances, and innovation. The film pays homage to its original style while expanding the story in an incredibly immersive way. The movie, which will have midnight screenings at 12:01 a.m. when it officially opens in Philippine theaters on Wednesday, delves into themes of shaken faith, family trauma, and demonic possession. The story takes off when Angela and Katherine decide to skip school and disappear into the woods, only to return three days later with no recollection of what happened. Upon their return, they exhibit strange behavior, leading Angela’s father Victor and Katherine’s parents, Tony (Norbert Leo Butz) and Miranda (Jennifer Nettles), to accept the help of former nun-turned-nurse Ann (Ann Dowd). Ann not only reunites Chris MacNeil with the group but also assists in organizing an interdenominational exorcism ritual, which involves a reluctant Catholic priest, Father Maddox (EJ Bonilla), Pentecostal preacher Stuart (Danny McCarthy), root doctor Beehibe (Okwui Okpokwasili), and Baptist pastor Don Revans (Raphael Sbarge).
When asked why he decided to revisit “The Exorcist” 50 years later, especially at a time when horror audiences are discerning and selective, David emphasized that he has always thrived on challenges. “I enjoy taking risks. I’ve never been afraid of taking risks in my career,” he emphasized. “To get the opportunity to work on a title like ‘The Exorcist,’ which is personally significant to me as a film lover, is a tremendous honor. It allows me to infuse something deeply personal into this movie.”
“I don’t see ‘The Exorcist: Believer’ as only a horror movie—I would call it a theological thriller. I crave suspenseful moments and an unnerving atmosphere that doesn’t conform to the conventions of contemporary horror genres.”
Our Q&A with David:
Q: What was your first impression of “The Exorcist,” and how did that influence your approach to this direct sequel?
A: The scene that stuck with me from my initial viewing was the spinal tap sequence with 12-year-old Regan, played by Linda Blair. The sight of blood squirting out during the needle insertion was undeniably the most horrifying moment in the movie! Scenes like that one gave me permission to create a film that doesn’t rely on contemporary horror tropes. I wanted to incorporate some awkward, painful, and cerebral clinical sequences.
I also appreciate director William Friedkin’s casting choices. He chose real people, making the film feel less like a typical supernatural narrative. If you see a priest in our film, chances are he’s a genuine priest. If you see a doctor, an EMT, or police officers, they’re probably playing themselves. We cast authentic authority figures to bring a believable and honest quality to our movie, taking inspiration from Friedkin’s work.
Q: There was a myth surrounding “The Exorcist” claiming that the shoot was cursed, with numerous accidents and delays. Did you worry about a similar fate affecting you or your career?
A: Oh, not at all! (laughs) I feel protected by positive energy and spirits, so I’m not concerned about that. In fact, there’s a scene early on in our film where the Haitian voodoo priestess, who is an authentic priestess, offers a protective blessing for Victor’s unborn child. I also had her send some protective energy my way, so I feel I have my armor on if necessary.
Q: Let’s discuss your approach to executing jump scares. One of the more surprising moments in “The Exorcist: Believer” involves a snake. After your successes with other horror films, do you find it easier to determine when and how to place jump scares to catch viewers off guard?
A: I always consider whether I should go for surprise or suspense. The snake scene is an example where surprise works best, as you don’t want to know that there’s a snake. You don’t want to predict when a bomb is about to explode. You must structure it like an Alfred Hitchcock scene. If executed successfully, the payoff can be incredible. In the case of the snake, we removed the music and opted for silence. We hear voices above, diverting our focus elsewhere. We zero in on a necklace, a little pendulum the character sees, distracting the eye. For me, the key to a great scare is distraction—you look in one direction, and the scare comes from another.
Q: The film poses the question, “What is evil?” and provides insightful answers. In your opinion, what is evil?
A: I have to credit my co-writer Pete Sattler for that line. When I read it, I found it profound. It’s also in the original novel by William Peter Blatty. There are brilliant passages about possession not only taking the form of demons but also residing in the small things that divide us. Every day, there are tragic events happening worldwide. Disturbing headlines are a constant. Personally, I find the destructive energy one human being brings upon another to be the epitome of evil.
Q: Lidya and Olivia give remarkable performances that hold the film together. Can you speak about casting and working with them?
A: My audition process is always thorough. After a few rounds of auditions… [the rest of the response is missing
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