VAN SANT EXORCIST REMAKE IN B&W GREENLIT

GREENLIT – A Gus Van Sant Exorcist remake in black and white has been greenlit. Following the runaway success of the director’s Psycho remake, the Van Sant Exorcist remake is to be a black and white, shot for shot version. The Exec caught up with the director at Exec HQ to find out more.

So, Gus Van Sant, an Exorcist remake. Where did you get that idea?

‘Look man, we made so much fucking money with my Psycho remake, we didn’t know what to do with all that cash. It was a huge smash hit, ya dig? So anyway, there I was with my manager, floating in our money swimming pool when we heard about these Exorcist sequels with Ellen Burstyn on board. Me and my manager looked at each other with dollar signs in our eyes. We both said at the same time, ‘THE POWER OF CASH COMPELS YOU!’ It’s as simple as that.

Will Your Remake Be A Part Of These New Films?

If they make any kind of decent green, then yes, of course we’re part of the franchise. If they don’t, no fucking way man, ours is a stand-alone remake.

Have You Cast The Film Yet?

Yeah, you betcha we have. We got Andrew Scott playing Father Karras. Because who don’t love a sexy priest? I’ve seen Fleabag. People go wild for that shit. Brian Cox will play Father Merrin, but we’ll just get him to shout ‘Oh, fuck off!’ throughout the exorcism. You know, just like he does in that Meme-GIF thing. And we got Macauley Culkin playing Regan.

Is Regan Going To Be A Grown Man In This Version?

No. What do you mean?

Well, Regan Is A Little Girl In The Original. And Culkin is male. A grown man.

No he isn’t. He’s that cute little boy that gets left home alone in that movie… I can’t remember the name of it now.

Home Alone.

I know he is. I just said that, but what’s the name of the movie?

 

It’s Home A… Never Mind. Forget It.

The Exorcist Redux Starts Shooting In 2022.

47 FILMS: 3. PARENTS

47 Films to see before you’re murdered in your dreams continues with Bob Balaban’s debut horror Parents.

The family is a good place to start when it comes to horror, be it Norman Bates’ mother complex, the psycho family from Texas Chainsaw Massacre or even the sweet demonic daughter from The Exorcist. Just getting pregnant can be scary – see Rosemary’s Baby, or in a weird way Alien!

A welcome addition to the sub-genre is Bob Balaban’s 1989 horror-comedy Parents. Set in a 1950s American culture that worshiped the sanctity of the nuclear family, Dad (Randy Quaid) knows best while Mom (Mary Beth Hurt) prepares the meatloaf, entertains guests, wearing bouncy frocks and without a hair out of place. Unfortunately, their young son (Bryan Madorsky) is having nightmares and seems to be focused on their eating habits with mounting suspicion. Endlessly told to eat his meat, the ‘leftovers’, he asks what were the leftovers, before they were leftovers. ‘Leftovers to be,’ replies his dad with a grin, but it soon becomes apparent that the meat is of a much terrifying provenance. Could it be that his parents are feasting on human flesh?

Balaban – an actor famous for his character roles in films such as Close Encounters of the Third Kind and Deconstructing Harry – gives the film a jaunty ironic tone with a soundtrack made up of Golden Oldies. This is Tim Burton territory of a hyper-stylized pastel bright suburban America as if they all just popped off the back of an old cornflakes packet, but he infuses it with a darkness that seems more Lynchian. The child is powerless before his  parents and their bland cheery authority. The school tries to help but the social worker (Sandy Dennis) is a chain smoking mass of neuroses herself. Dad works at Toxico and is developing Agent Orange to wreak havoc in the Third World and there are suggestions later on that the cannibalism is not so much an aberration as a family tradition.

Balaban brilliant makes the normal horrifying and the comforting disconcerting, what should be a tasty hearty meal becomes an inedible terror.

For more of our 47 Films to see before you’re murdered in your dreams Click HERE.

WILLIAM FRIEDKIN CONTROVERSY RESOLVED

HOLLYWOOD – The film world was in TATTERS Monday when in replying to a tweet from STUDIO EXEC William Friedkin noted film director of Jade, The Exorcist, Rules of Engagement and The French Connection claimed that something the Studio Exec had said was ‘Bullshit’.



However it has come to our attention that an archive piece of footage proves that the Studio Exec was indeed right and accurate and Mr Friedkin ought to go easy on the ole cough medicine before the sun’s fully over the yard arm.
Here’s the Video which shows clearly a temp track testing Mancini’s soundtrack with nary a tubular bell in hearing range.


Thanks to reader David Hughes (@Groovyfokker) for finding this.

ON SET: THE EXORCIST

October 3rd, 1972 

Billy Friedkin told me over morning coffee that he wanted to add a masturbation scene to The Exorcist and what did I think about it. I said it might affect our chances of getting a PG rating and the studio would be against it, but if he thought it was necessary I’d back him thinking that a bit of controversy would get the press interested and we’d get plenty of free publicity.


He said he wanted the character of Regan to masturbate with a lit 12 inch black candle but I told him the insurance would never cover it. Not only would it be a potential fire hazard but solid wax is a bitch to get out of pubic hair.

He said fine and how about a King Cobra instead? I told him I liked the idea and we’d get no grief from the society for the humane treatment of animals because they only give a shit if you start shooting dogs or blowing up horses. I made a couple of calls and managed to procure one from a place called ‘The House of Venom’ based in the San Fernando Valley.

It was delivered to the set the next day and Friedkin said he wasn’t going to tell Linda Blair so he could catch her natural initial reaction on camera. As soon as Billy shouted action and the handler released the Cobra onto the bed, I knew we’d made a terrible mistake. We’d been assured the snake was placid but the God damn thing started hissing and spitting and Linda was petrified . I told Billy to stop rolling so we could get it back in the bag but he wouldn’t listen and kept on filming.

I didn’t know what the hell to do so I grabbed a fire extinguisher, pointed it at the snake and hit it with a jet of water but this seemed to piss the mean sonofabitch off and he reared up in front of Linda’s face ready to strike. I remember thinking we were going to have a big fat lawsuit on our hands if our 13 year old lead was killed by a King cobra doing a masturbation scene but before I could start mentally writing my resignation speech. Max Von Sydow appeared from nowhere, grabbed hold of the snake and bit it in half with a single savage bite.

Friedkin yelled cut and for a second I thought that Syndow had been in on it and this had been the plan all along. That notion was quickly dispelled when Max began chasing Billy around the room flailing the severed torso of the Cobra at him screaming “I wouldn’t take this s*it from Bergman and I’m not taking it from you Friedkin!

It took a while to calm Sydow down but when I thanked him later over drinks for saving the day, he said it was no big thing and that growing up in Sweden he’d bitten many animals in half in order to defend himself. Billy was on cloud nine saying it was the best footage he’d  ever shot and if that didn’t get him the Oscar, nothing would. I didn’t care I just wanted to get back to my hotel room and wash a couple of Valium down with a large scotch and fine cigar.

It had been one hell of shoot and I made a promise to myself there and then that I would never mix children and potentially lethal reptiles again. I never did keep that promise, but that’s another story for another day.