American Cinematographer - August 1998 - 99

it at the theater

another Joe

as

Schmoe in the audience."

Questioned about the condi¬
tion of The Exorcist's

original

nega¬

tive, Roizman responds, "I don't
think it's been mishandled, but it isn't
in very
we

good shape. The 35mm print

screened
done

was

had

the Chinese Theater

at

at YCM

in

Burbank, but it

be made from the

original
negative because the dupe negative
to

that had been made
was

a

some

a

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A

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to

A

time ago

disaster.

original has

kx

Feeling adventurous? Longing to expand
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Unfortunately, the
lot of dirt, tears and

scratches, but it's scheduled to be

niil*

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corrections that still had to be

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went

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what

we

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the

I'tf

felt

as

if I contributed
the

a

tremendous

did
together. I have always thought of
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amount to

the

ass to a

would get

pictures

two

by making
comments about the performances
and suggestions about shots. A lot of
directors wanted

to

make all of those

feeling

'I'll make the suggestion and

leave it.' At the
same time, Friedkin made major
contributions to what I was doing -
by letting me do my work and
encouraging me to do my best." ■
they

can

take it

A Warner Bros,

directed

or

release;

by William

if

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CONTACT 10:

ASC/Kodak online chat and pick up a nugget
or two of cinematography history.

area

decision themselves, but my
was,

Is* "ini

we

lot of directors because I

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4) Answer a lighting question for a friendly
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fl Classifieds
i

should look like."

Asked to assess his working
relationship with Friedkin, whose
tempestuous nature has been
explored in several "tell-all" books
about 1970s Hollywood, Roizman
offers, "There was a chemistry there
for producing good work. I always

,

things technical.

had.

Fortunately, the print was pretty
good; it looked close to what it

tjf

;Al

series of articles

ogy

P4

i

v

i-

restored

by YCM, and a new dupe
negative will be made.
"The print we used for the
recent screening was not a final
approved print," he notes. "Both Billy
and I had a lot of notes regarding

.I
u

*

a Hoya Production;
Friedkin; executive

producer, Noel Marshall; produced by William
Peter Blatty; associate producer, David Salven;
screenplay by William Peter Blatty, based on his

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97
American Cinematographer - August 1998

Table of Contents for the Digital Edition of American Cinematographer - August 1998
