More video interviews with Linda Blair and Owen Roizman promoting THE EXORCIST Blu-ray

There’s no denying The Exorcist Blu-ray release is one of the biggest releases of the horror masterpiece since it first arrived on DVD in the late 90′s. Jam-packed with both versions of the film and three brand new behind-the-scenes documentaries, Warner Brothers have been busy promoting the film across the web ahead of its release this week.

Movieweb sat with star Linda Blair and Cinematographer Owen Roizman for short one-one-one questions about their experiences with The Exorcist. You can watch them embedded below.

In the interviews, Linda Blair talked about what she thinks of the two different versions of The Exorcist, and how the film has affected her career and her Linda Blair WorldHeart Foundation.

Cinematographer Owen Roizman spoke about personally preferring the Original Theatrical Cut as well as the challenges and pressures of filming the film in a realistic quality to ensure the audience believed what they were seeing.

The Exorcist was released on Blu-ray October 5th.

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  • DamienKarras

    Thanks for putting these up, finally more from Owen :>

  • Phillip Bourke

    Well, the 1973 version is the greatest horror movie ever made (IMO). I hated what they did to this classic for the 2000 re-release. All of those added scenes and FX were awful (I hated that glossy ending and the added CGI). Talk about messing with a perfect film…

    “The Exorcist” (1973) 10/10
    “The Exorcist: The Version You’ve Never Seen” (1973/2000) 7/10

  • Pacific707

    Phillip, you’re right on every count. I hope people won’t bother with the cut from 2000 and will keep the 1973 version as the “definitive” version. Why try to improve upon an already made classic? What happened to Billy Friedkin’s convictions back in 1973?
    If anyone has had the joy of reading Blatty’s original screenplay and compared it next to the final version of the 1973 release, you’ll see just how much influence Friedkin had in keeping this horror story as a simple exercise in just that, horror, without getting bogged down in Blatty’s original story that had too many confusing plots which had no (filmic) plausible connections with the main story (IMO!). The novel is true to Blatty’s original screenplay (or vice versa, actually). The fact that Friedkin threw away that script and used passages from the book as a basis for the screenplay was a major stroke of brilliance. I always think of the story as Blatty’s, but this film really belongs to Friedkin who waded through the original story to put out something that grabbed the audience and didn’t let them go until the final frame. Why this didn’t win Best Picture, over The Sting (and how many of us go back to watch “The Sting”?), I will never understand.

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