![]() ![]() As a Film Production student, he has been a director and production designer on several student films. Although he enjoys all kinds of movies, his research at USC has primarily been in the horror and suspense-thriller genres. During his years at USC, he was a member of the Sidney Harman Academy of Polymathic Study and an assistant “game runner” for “Reality Ends Here,” an alternate reality game hosted by the School of Cinematic Arts. One wonders if a movie could ever be made again that would have that sort of impact.Originally from Federal Way, Washington, a suburb outside of Seattle, Michael Onorati is a senior double majoring in Cinematic Arts Critical Studies, with Honors, and Film & Television Production. Audiences were genuinely fainting and throwing up and crying. It’s fascinating to see what a cultural impact this film had at the time. Here is the trailer that, according to Schifrin, sent people “to the toilet to vomit”:Īnd, finally, this is a great short film showing audiences reactions to The Exorcist upon its release. Here is the full terrifying and rejected Schifrin score for The Exorcist: It’s no wonder Schifrin called it one of the “most unpleasant experiences” of his life. Reportedly, Friedkin was so displeased with the partial score that Schifrin had submitted that he literally threw it out of the studio window-mirroring the second story window ejections of Burke Dennings and Father Karras in the film. So, I thought i was in the right way… but the truth was very different.Īccording to Neil Lerner’s Music in the Horror Film: Listening to Fear, Friedkin had asked Schifrin for a score that “did not sound like music” and which was “tonal and moody.” In fact, when I wrote the trailer I was in the studio with Friedkin and he congratulated me for it. This is the first time I speak of this matter, my attorney recommended me not to talk about it, but I think this is a good time to reveal the truth.įinally, I wrote the music for the film in the same vein as that of the trailer. In the past we had an incident, caused by other reasons, and I think he wanted vengeance. I could easily and perfectly do what they wanted because it was way too simple in relevance to what I have previously written, but Friedkin didn’t tell me what they said. So, the Warner Brothers executives said Friedkin to tell me that I must write less dramatic and softer score. The trailer was terrific, but the mix of those frightening scenes and my music, which was also a very difficult and heavy score, scared the audiences away. The people who saw the trailer reacted against the film, because the scenes were heavy and frightening, so most of them went to the toilet to vomit. ![]() What happened is that the director, William Friedkin, hired me to write the music for the trailer, six minutes were recorded for the Warner’s edition of the trailer. The truth is that it was one of the most unpleasant experiences of my life, but I have recently read that in order to triumph in your life, you may previously have some fails. Schifrin, speaking to Score Magazine revealed some of the history of his work and Friedkin’s reaction: It’s unclear if the sounds and images were simply upsetting or if the flashing images actually caused seizures in some viewers. This score was used in an advanced trailer which some have called the “banned trailer.” As the stories go, this trailer literally made audiences sick when it was shown. 1” of Polymorphia was used in the film’s final edit) with the addition of Bernard Herrmann-esque “fright stabs.” Schifrin’s atonal Exorcist score was very much in the vein of Krzysztof Penderecki (whose “Cello Concerto No. Mike Oldfield’s “Tubular Bells,” used as the main theme for ‘The Exorcist.’īefore Friedkin settled on Oldfield’s prog masterpiece, he had originally commissioned a score from Lalo Schifrin, who had famously done soundtrack work for Cool Hand Luke, Dirty Harry, and the instantly recognizable Mission Impossible TV show theme. Of the minimal music used in the film, most famous is Mike Oldfield’s “Tubular Bells,” which went on to become a smash so huge that it essentially birthed the Virgin empire. The film makes minimal use of music-a stylistic choice which gives the film an air of stark realism despite the supernatural events depicted onscreen. William Friedkin’s 1973 masterpiece, The Exorcist, was a landmark in horror cinema, a cultural phenomenon, and (if adjusting for inflation) the ninth highest-grossing film of all time. ![]()
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