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Interview with Rupert Wyatt of "The
Exorcist" on FOX 9/21/16
This show is very enjoyable; it was great to speak to the
Executive Producer and director of the first episode.
He was very nice on the call and eager to share his
experiences with us. Sorry this is late...we received it
late. I hope you get to see this wonderful show!
FBC PUBLICITY: Conference Call with
September 21, 2016/3:00 p.m. PDT
Moderator Ladies and gentlemen, thank you for standing
by and welcome to the Conference Call with Rupert Wyatt. At
this time all participants are in a listen-only mode. Later
we will conduct a question-and-answer session, instructions
will be given at that time. [Operator instructions]. As a
reminder, this conference is being recorded.
now like to turn the conference over to our host, Miss Erin
Moody. Please go ahead.
Erin Hi, everyone, thanks for
joining us today to talk with Rupert. As you know he
directed the pilot and is an executive producer on the
series, which premieres Friday evening on Fox. So, with
that, we will go ahead and turn it over for Q&A.
Moderator Thank you, one moment please. [Operator
Our first question comes from the
line of James Ruby. Please go ahead.
Jamie Hi, itís
great to talk to you. Thanks for taking the time today.
Rupert Oh, hello. Hi, sorry [indiscernible]. Hello, hi,
how are you?
Jamie Good, you?
Jamie So, can you talk aboutóI mean obviously
this isnít the same story as the original. But is it sort of
like a sequel, or is it just in the realm of the original
story? Can you talk about that and how itís similar to the
Rupert Well, the inspiration, I think,
derives from the source novel [indiscernible] Peter Blatty
novel. What Jeremy, the creator of this show, looked to do
was place the events of our show and the series into a
contemporary context and, of course, the Friedkin original
dealt with events that happened in the early 1970ís. So we
are forty plus years after those events, but those events
exist and occurred within the realms of our mythology. But
we are dealing with wholly new characters.
a different location, our film is set in Chicago. The
similarities, I guess, are in the sense that demonic
possession is something that is an event, and is a sequence
of events, that begin to happen within the context of the
small family unit, and also the city, the wider city as a
whole. So, really, thatís where the similarities lie,
specifically. Other than that, itís a completely new
narrative with new characters.
Jamie Okay, cool, and
I do enjoy it so far. I was also going to ask why did you
guys decide that now was the time to do this rather than a
year ago or a year from now?
Rupert Well, youíd have
to ask Fox that question, specifically why they chose to
greenlight it, but I would say from my perspective, itís
always interesting to me when the world is in a place
socioeconomically or politically where there are, I guess
you could say, world events that play in to the notion that
evil is becoming more pervasive in our society and we as a
society are dealing with things in a very real-world sense
up close. Whereas 10, 15 years ago, that was less the case,
we were living in more of a golden era. And I think,
inevitably, what happens is entertainment and art form
So, the idea for me and why I was a
big proponent and driver of setting the film in Chicago,
because I thought it was a great ground zero for a large,
historically vibrant American city that is
predominantlyóthat has a big Catholic community. The church
is very powerful there, but at the same time it is a church
that is dealing with modern controversies and scandals. It
is not the great institution that it once was and then on a
political level there is aspects of corruption within
Chicago. There has been historically, of course, going back
to Al Capone. And then in terms of the violence, you only
had to pick up the newspapers to see the murder rate right
now is that of Los Angeles and New York combined this year.
So, itís a city where, if you were to say the devil
were to infiltrate our world and start and look to
proliferate on a pandemic level, Chicago would be it.
Jamie Okay, great. Well, thank you so much, Iím really
enjoying it so far.
Rupert Thank you, thanks, good
Moderator Our next question comes from the
line of Suzanne Lanoue with The TV Megasite. Please go
Suzanne Hi, good evening.
good evening, hello.
Suzanne I enjoyed the pilot, I
watched it last night and Iím glad it didnít give me
nightmares, I was afraid it might. I really appreciate the
fact that itís not like horrifically violent or gory, even
for a network show. Some of those shows I have trouble
watching. Was there a conscious effort to make it more scary
and creepy than gory and violent?
Rupert Yes, I mean,
I think if there was ever a hope on my part it was that we
would be able to follow the rules of the original, which is
the toneóis being able to create a tone and a sense of the
worlds rather than look for jump scares and the more
contemporary forms of horror. And actually, score [ph]
something that was a bit more psychological. So thatís what
I was trying to do.
Thereís always, I guess, a
pressure and a desire from certain people or a percentage of
the audience where they want that, and so itís finding that
balance I guess. But for me as a filmmaker and a story
teller, I was really interested in the characters and where
their stories went moreso than the splatter effects.
Suzanne Can you talk at all about the casting and whether
you got the people that just came in or you looked for them
or how that all came about? Because you have some great
Rupert Yes, sure, thank you. It was a reallyóI
mean overall, I have to say just the experience of making
this pilot was really, really fun and, creatively, really
inspirational for me. And that doesnít always happen when
one does a pilot. As a director, youíre coming into
something thatís preconceived and you areóitís different to
making a film on a number of levels, and I would say with
this, interestingly, it actually was the closest Iíve felt
for a long time to making my first film. I had a real
opportunity on a creative level to collaborate with the
showrunner, Rolin Jones and the creator, Jeremy Slater in a
really equal way, and it was much to do with them that they
allowed me that.
So casting wise, the brain trust
that was us, essentially got together and really looked to
find really interesting character actors like Alan Ruck,
whoís wonderful and an amazing actor; and Ben Daniels, who
plays Father Marcus, was an actor Iíd seen on House of Cards
and I checked out Flesh and Bone as well. I just loved him
forówe wanted an older man, but at the same time a man that
had a youthful physicality, but a world weariness in terms
of his soul and he kind of imbued that brilliantly. So, we
pushed very hard to cast for him.
Alfonso, Iíd seen
on Sense8, and really loved him and we thoughtówe wanted to
find an actor that representedóand the character was written
somewhat in this wayóbut represented the modern Catholic
Church. When you travel around Chicago, you see a lot of the
old blue collar, immigrant neighborhoods that were, and
still are, fundamentally Catholic. And whereas 40, 50 years
ago they were Polish or Irish, theyíre now predominantly
Mexican or Latino in general and so we decided that would be
the best face for the modern Catholic Church. So, Alfonso
was it. And then Geena needs no introduction. So, she was
justóGeena was just incredible that she stepped up when we
asked her to and said yes.
So, yes, as an ensemble,
it was actually very easy to cast in terms of the choices
that we wanted, we were lucky enough to get. But, yes, we
wanted a real diversity in an ensemble.
thank you. It was a really great pilot and I especially
loved the ending when the music came in, that was just, I
was like oh yes, thatís great.
Rupert Thanks, no, we
didnít intend to put that in actually. When we started, we
thought, well weíre not going to use ďTubular BellsĒ because
we didnít want to be derivative.
Rupert And when we were cutting it, it was actually me,
and I went to gage my initial gut, I wonder if weíve earned
it, I wonder if it works here, and it just played
brilliantly, in the final moments it seemed to work. It
seemed to work for the purpose of our story, as much as the
original. So, for that I felt like it was justified.
Suzanne Yes, it was just awesome. And I look forward to the
rest of the series, thank you for talking to us.
Rupert Thank you, thanks for taking the time.
Moderator Our next question comes from the line of Talya
Gonzalez with Talk Nerdy With Us. Please go ahead.
Talya Hello, how are you doing today?
good, Talya, how are you?
Talya Iím doing great. If
itís okay, I have two questions for you.
course, yes, please.
Talya My first question is,
Linda Blair has recently expressed interest in having a
cameo in the TV series. Have you thought about doing cameos
with some of the past actors and actresses from the original
Rupert I donít know. I mean Jeremyóthatís a
better question for Jeremy Slater, our creator, because heís
more across that. If there were something that were to be
relevant to Re [ph] MacNeil, then absolutely. But I think
the whole intention for this show was that we would be
looking toówhilst we are following on from the events of the
original film, but we are 40-some years later. So, yes, I
think itís a tough question to answer because it was never
something that we discussed, to be honest.
Okay. My next question is, what do you feel has been your
greatest challenge bringing the world of The Exorcist from
the big screen to the small screen?
Rupert Well, I
never saw it as a small screen. I kind of think the best
stories these days are told on television and theyíre
incredibly ambitious for all good reasons and itís a shame,
in many ways, that modern, mainstream cinema is gradually
being eroded and taken over by TV, in my opinion, because I
still love going to the cinema. But I do think itís the
golden age of TV.
And I think one reason for that is
itís becoming inherently more cinematic in terms of the
making of it, and so the process of making this pilot was
really wonderful for me because I was given a really good
amount of time and I was given a decent budget and I was
given wonderful actors and an incredible crew to mount
something. So I approached and shot this as if I was making
a feature. And the same narrative tropes as I would if I
were making a theatrical feature were played into this as
well. So it was always my intention to light it and design
it and shoot it in as ambitious a way as possible because I
think thatís what modern television audiences expect these
Moderator One moment please. Hello, one moment
please, weíre having some technical issues. Please hold the
line one moment please.
Erin óbroke it. Oh, no.
Moderator Okay, our question-and-answer screen has
technically gone down at this time. The suggestion that I
can make is I could open up the lines fully interactive and
then ask, people could ask a question at a time. Theyíd have
to be courteous of the person thatís asking the question.
Would you mind us doing that?
No, thatís absolutely fine. Are they on the line now, can I
speak to them?
Moderator Yes, theyíre on the line.
Itís just that our Q&A, our question-and-answer screen went
down. And then also if youíre not speaking, ladies and
gentlemen, please mute yourself so thereís no background
noise. So, Iím going to open up the lines fully interactive
and then you can ask one question at a time and I certainly
apologize. Just a moment please.
Okay, ladies and
gentlemen, your lines are now fully interactive. So if you
would like to ask Mr. Wyatt a question, please feel free,
one at a time and we would advise that if youíre not
speaking to keep all background noise at a minimum and mute
yourself if youíre not speaking. But, now all lines are
open. Please go ahead.
Art Hi, this is Art Shrian
from myNewYorkeye. Hello?
Erin Oh, go ahead, Art.
Art Hi, thank you. So, congratulations on this pilot. I
watched it last night and loved it. You are the master of
reboot after [indiscernible] and Planet of the Apes was
amazing. You give of a new life to this, congratulations for
My question to you is, you are also a writer
and a director, so how was the topic of working on this in
terms of collaboration? Did you bring in new writing as well
or how was the writerís room for a show like this which
people have preconceived notions of? How was that in terms
of writing process and working with the writers for you?
Rupert Well, thank you. I mean, to be honest with you,
itís very nice of you to say Iím the master of the reboot, I
would love not to be thought of that because rebooting is,
well, this is not rebooting, this is not recreating the
mythology, this is basically just telling a wholly original
story that is 40 years after the event of the original.
So, I never saw this as a reboot, I never approached it
as a reboot. I came onto itóI was looking to do a television
pilot this year and the way the process works as a director
is one gets sent the scripts that are looking to be greenlit
or are greenlit and one reads them and one pins oneís sort
of desires to the one that one likes the best and if youíre
lucky enough to get the job, then thatís great and thatís
exactly what happened with this.
I read it and found
it to be, in my opinion, by far and away the strongest piece
of writing from all of the other scripts. So I was reading
and it was a story that I could visualize and thatís key,
obviously, if Iím going to be approaching it as a filmmaker.
It just inspired me so for better or for worse, thatís what
drew me into it. Maybe Iím naive, but I never really once
considered or wanted to consider the notion of anyoneís
preconceived notions of The Exorcist as an intellectual
prophecy. It was notóthat didnít interest me very much.
Art Right, right. I meant like after The Planet of the
Apes and The Gambler, which I really loved as well. Thereís
other franchises or series there [indiscernible]. And my
last question would be, working on a project on demonic
possession or something, does that impact you in any way,
your impression ofówhatís your faith system about
supernatural and has working on this project impacted it in
Rupert Thatís interesting. I mean, Iím an
agnostic personally and I approached it as one when making
this. I didnít ever want the characters in the story to
react to anything supernatural in a way that they had any
sense that it was normal. I wanted them to sort of look upon
any supernatural world as something that was entirely
unexplainable. So I came at it from that approach and as far
as how it affected me, I think if you immerse yourself in
any subject matter, and then obviously in this case it was
demonic possession, it canít help but not affect you in some
Itís funny, when I started working on it, a few
friends of mine joked about the curse of The Exorcist and
that I better watch out. I think it cannot helped but it
affect you in some ways because, of course, youíre looking
over your shoulder a little bit. But I think whatís
interesting to me is it does, it sort of possesses you in a
very particular way, which is when you spend a lot of time
researching and immersing yourself into a subject matter
like this, then of course you start to have nightmares, of
course you start to have certain thoughts, because itís like
being a homicide cop and dealing with that on a day-to-day
basis. It starts to affect you psychologically, but thatís
the extent of it, I would say.
Thank you, thank you very much.
Rupert Thank you.
Kate Hi, this is Kate OíHare from Patheos.
Kate A few years ago, can you hear me?
Rupert Yes, hi.
Kate Great. A few years ago,
there was a movie made for Showtime about the original
Exorcist story and I remember seeing where Timothy Dalton in
his full gear as the priest in his Seminarians in their gear
were coming down the hall and there was a full-on hero shot.
And in this case youíve got guys who are fighting ultimate
evil. So in a way, theyíre sort of the superheroes of these
movies. So, talk about the idea of conceptualizing the
priest as the hero, with whatever powers he can bring to
bear, fighting against evil and how you want that to look
Rupert Yes, I think what youíre saying has
some relevance for sure in terms of how we approached it,
particularly in terms of Father Marcus, we explored the idea
that those that work for the Vatican and train within the
Catholic Canon and become immersed in the whole notion of
exorcism and start to actually carry it out, they are
recruited individuals, whether it be orphan boys like Father
Marcus, or people from different walks of life. And they
would be trained to carry out these actions and they would
beóand this is in keeping with real life, a lot of these
people that do that job are very secretive people, they keep
themselves to themselves, they donít advertise what they do.
Itís a bit like working for the secret service, I guess, in
They do that, specifically, not because
thereís any supernatural repercussions, but itís more to do
with the idea that they donít want to be hounded by people
whose family member might be schizophrenic or they might be
dealing with people with alcoholic or drug problems that
arenít, in fact, in their eyes possessed but actually are
more mentally ill or physically ill. And so theyíre very,
very fascinating people, the priests that do this job and
they are very much, very often lonely people who live very
solitary lives and they travel the world, or their diocese
rather, carrying out these acts. So, yes, we approached it a
little bit like a religious James Bond, if you know what I
Kate And also you have Father Marcus, who we
think at some point probably volunteered to become an
exorcist. So, heís a volunteer, but on the other hand you
have Father Tomas, whoís kind of a conscript. He wasnít
walking around going, gosh I think Iíll deal with demonic
possession, it just kind of fell on him.
Kate So what are the two different
approaches with how they cope with what theyíre facing.
Rupert So, yes. Tomas is drawn into the world and Marcus
whoís actually already very much a part of it, and youíll
see as the show develops, we get a really good and better
understanding of who they are as men and where they come
from. And theyíre very, very different. They come into our
story from very, very different places. So, whereas Father
Tomas has a recent history that deals with infidelity,
without giving too much away, just certain personal
controversies that have put him in this rather rundown
church on the South Side of Chicago, heís a bit of an
embarrassment to the church.
He was, at one stage,
the poster boy for the modern Catholic Church and heís now
been [indiscernible] out to the suburbs and heís going
through a crisis of faith. Heís trying to find out whatís
important in his life and that was fascinating to be able to
explore that character. Heís a fallible man, heís a very
vain man, and heís all of the sort of things that, if one
were the devil, would see as catnip. Heís a very attractive
human to try and draw into oneís web and Marcus is the
opposite. Marcus is, on a moral level, very, very strong,
but he comes from a very broken past and thatís ultimately
what got him recruited into the Vatican to become an
Kate All right, thank you very much.
Rupert Thank you.
Stacy Hi, this is Stacy from
CTV.CA, how are you, Rupert?
Rupert Hi, Iím good
thanks. How are you?
Stacy Good thanks. A question
for you. The Exorcist, as in the film, the novel has
remained extremely popular over time. Why do you think
people are so fascinated with this story?
think just like all great stories, itís a great reflection
of us as a species and also us as a society. Weíre telling a
story that is very much of the now, is 2016, and what I
think I was saying earlier about a city that has a great
history, a very rich and varied history, but ultimately a
city that is somewhat coming apart at the seams. It seemed
wholly relevant to start from that place and then grow from
When Friedkin made the original film, the
United States was going through various financial crises and
was going through the early years of Vietnam. It wasnít a
totally different world, it was similar in many ways, and I
think the people sort of look inward to that particular
moment in time and, of course, the notion of good and evil
becomes very prevalent for a lot of people. So itís
Stacy And also, earlier, you talked about
the cinematic quality and the treatment that you gave the
pilot. Was that very important to do that, seeing that many
peopleís first experience with the story was through film?
Rupert I guess so. I certainly didnít look to engineer
it for that reason alone. I mean, I wanted toólike any film
or piece of television that Iím looking to be involved in,
itís utilizing every aspect of the medium from sound design
to who one casts, who is to be the cinematographer and the
lighting. I wanted to find a city in the middle of winter to
give itóI didnít want any varnished look. I think a lot of
network television can sometimes have a gloss to it, for
better or for worse, but certainly in the case of The
Exorcist, I did not want that. I wanted to find something
that was really unvarnished and light it in that way and so
Chicago in February was perfect for that.
it had, I felt like I was watching a mini movie and Iím
looking forward to the rest of the series, congratulations
Rupert Thank you, great, thanks so much.
Hi, this is Kathryn from SciFiNow. Iím calling in from
Rupert Hello, Kathryn.
there. Carrying on in that thread, in the cinematic thread
and theóany influences or artistic influences. The image of
Father Merrin in the original Exorcist was inspiredówhere
heís standing in the beam of light, was inspired by a Greek
[ph] painting. Have you drawn inspiration for your first
episode from any artistic or cinematic influences?
Rupert I mean, yes, many. To be specific, Iím trying to
think where weóI mean we looked to a lot of films,
specifically shot in Chicago in the winter, Road to
Perdition. We looked to The Wire, interestingly, for the
notion of the inner cities and Baltimore, obviously in that
case, but just the more rundown nature of the modern society
or the more low income neighborhoods. Specifically for
around the church, that was helpful for me when I was
Then, there was a Pablo Larrain film, this
name escapes me, but made relatively recently about some
defrocked Catholic priests that are living down in Chile on
the coast. I referenced tható
Kathryn Oh, okay.
Rupert ófrom a costume point of view, just for the
retreats where the priestsÖyes.
Kathryn The priests
were sent there because theyíve abused people.
Not all of them, but that was yes, certainly those places
exist. Catholic seminary retreats where those that commit
those acts, that in a normal civilian life would possibly
put them in prison, they get sent there when theyíre the
Kathryn Just one more thing, I read in an
interview with Geena Davis that she was asked for some
feedback regarding her character. How did you two work
together and was there that back-and-forth between you in
that respect and what did she feed back into her character?
Rupert Iím sorry, I donít fully understand the question.
Kathryn When you were directing Geena Davis, she says in
an interview that she was giving feedback on her character.
When youíre working together, what kind of conversations
were you having?
Rupert Sorry, when she was
interviewed she said she was given feedback or she was
Rupert I donít
understand what you mean. She, sorry can youó
Kathryn Iíll just leave that
question. Someone else can ask something, thank you.
Rebecca Hi. This is Rebecca Murray. I
was just wondering if you could tell me if because this is
such an interesting ensemble of characters, is there one in
particular that you as a storyteller has really latched onto
and you hope that audiences maybe also find this character
Rupert Yes, the exorcist himself,
I thought, was incredibly fascinating. Not only in his
back-story but also just in the notion of what it means to
be an exorcist and what it involves. We researched it in as
grounded a way as possible. We talked to a priest who wanted
to remain nameless and said heíd witnessed various
exorcisms. I think he had, himself, done some but he
wouldnít say whether he had or not.
He just talked
us through the procedures and the challenges faced. A lot of
exorcisms go on for weeks, sometimes months. Itís a
religious form of therapy in many ways.
played Father Marcus, and I, we really got into that and dug
in deep in terms of how we could then relay that and put
that on the screen. I think the war wounds, the scars that
one carries from the experiences of looking to save that
many people over that many years would really start to take
their toll. So, in as many sequences [ph] as we could, we
tried to convey that with his performance.
Great, thank you so much.
Curt Hi, Rupert, this is
Curt Wagner. Iím calling from Chicago.
Curt I found it very interesting what you said
about Chicago. No hard feelings.
Rupert Iím going
back to make my next feature there. Itís my favorite city so
please take all of that as a compliment, I find it
Curt Okay, all right. I have a
two-parter. These kind of possession shows, a lot of times
itís a single possession and they get stuck in the bedroom
or the house or whatever. I was wondering if you could talk
about how youíre going to get out of the Rance household,
and how did you evolve this into a show that could run
multiple seasons? Will there be more than one specific
Rupert I can only tell you what I would
like and feel as a director of the pilot, first and
foremost, and for anything else you need to talk to the
showrunner, Rolin and the creator, Jeremy, to get more
specific thoughts on where theyíre going to go.
can tell you what we discussed and what to me was very
appealing because itís a good question. One of the first
questions I asked was how does one achieve a series out of
The Exorcist? Certainly no one was ever looking or setting
out to do exorcism of the week, it was not that whatsoever.
It was much more of a slow burn build of the idea where
ifóand I donít know if you know much about this, I didnít
actually and justóI mean Iím not Catholic. The Catholics
donít believe in the devil. They believe in demons. There is
no such thing as one particular sentient demon that controls
others, like Lucifer. Lucifer exists in their belief system,
but he was just another demon.
lore, like a film like The Omen, for example. That deals
with Satan. What I thought was fascinating as a result of
that is a member of the church, possibly Father Marcus,
begins to believe and consider that that is actually true,
that The Catholic Church has got it wrong, there is Satan,
there is such a thing as a yang to Godís ying, if you like.
Satan has intention to basically strike now at this
particular moment in mankindís place in the world and our
moment in history. Itís the perfect opportunity with the
world of violence that we live and what is going on in the
world to start to essentially expand from a ground zero.
Chicago was our choice, with apologies, but it was the
idea that we would start there. If you consider a show like
The Walking Dead and the pandemic that has become The
Walking Dead itself, consider that, but on a possession
level. So my thinking is, and you can write this on my
behalf, Iím not speaking for the show itself because I donít
know, ultimately, where theyíre going to choose to go, but
my desire and hope for the show is where we build out so
that by season two weíre entering into towns or cities that
have become [indiscernible]. It becomes a pandemic. This is
just very much the Arab Spring spark, I guess, of demonic
Erin Okay, everyone, we have time for one
more question. Is there someone that still has one more to
ask? Or are we wrapped [ph]?
W Iíd love to ask
wait, weíll do two more, okay? So, go ahead.
intrigued by the idea of possession as pandemic because I
Erin Oops, did we
lose that person? Okay, actually, Kathryn, did you get to
ask your other question from SciFiNow?
Rupert I think
Erin Okay. Did we lose everybody?
Erin Okay. .
W Hello? Hi.
Hi, go ahead.
Erin Hello, who is this?
Erin If thereís maybe someone
who hasnít asked a question yet, if you havenít asked a
M I havenít
asked a question yet.
Adam Grant Adam here with
Adam First of all, kudos
to you and the rest of the cast and crew. We saw the pilot,
we thought it was great, really well done and really scary.
I have two quick questions.
I would say as weíve
covered so much here in this and thank you. What was your
favorite scene to film in the pilot?
question. Theyíre not always the most interesting scenes, my
favorite ones to shoot. The most challenging, the most
satisfactory was actuallyówell they allóIím not being glib,
but I would say that the entire shoot was a pleasure and a
lot of fun to shoot.
Shooting in Mexico City was very
interesting for me. Iíd never been to Mexico before and we
shot this vast favelaócan you hear me?
Adam Yes, I
can. Thank you.
Rupert All right. Yes, we shot in
this vast favela in the suburbs of Mexico City and thereís a
lot of challenges, both in terms of just personal safety,
and I donít mean that because we were going to get mugged,
but more because just the place itself is very dangerous in
terms of lots of just very, very steep climbs and long drops
and things like that because we found this great house that
worked perfectly for the building of the possessed child.
So, that was great. That was two night shoots we did
right at the end of our shoot. I had a great time down
there. I love Chicago, as a city, I fell in love with it.
The light there, in the winter, was great. I know that
doesnít really answer your question, butó
thatís fantastic. Like you said, it just played out and as a
viewer it looked all of so [ph] cinematic as opposed to just
a regular television show. Thatís what really got our
attention right out of the gate. Mexico City is a great
Then, my second question is, some diehard
fans, or purists say, may be hesitant to tune into the TV
series, others who say [ph] it will taint the original movie
to them, what would you say to them?
will be some that donít listen to me whatever I say, so
[indiscernible] in that respect. What I would say is, weíre
not repeating, weíre not going over old ground, weíre not
remaking anything, weíre not rebooting anything. I never
came and got involved in the show in the first place, I
wouldnít have gone anywhere near it if that had been the
case. This is a completely original story set in the modern
day that happens to be 40 years after the events of the
I personally, as a fan of the original, am
interested to explore and get to know more stories that deal
with the world that was created back in the early í70s with
the Friedkin film. I think, frankly, the best storytelling
these days, like I said earlier, it mostly on TV now. So on
form [ph], television has become the new novel in many ways.
Itís a great way to really explore characters over a period
of time and get into complex narratives that one canít
always achieve, certainly in mainstream cinema over the
course of two hours.
Adam Perfect, thank you so much.
Erin All right
Rupert Thank you. Thanks, guys.
Erin I think thatís all that we have time for, you guys.
Iím so sorry, but thank you for joining us.
Giselle Can I ask a last
Erin What? Iím sorry, what was
Giselle Itís Giselle, from Brazil. I did not
have a chance to ask a question.
Erin Oh yes, sure,
go ahead, please ask one last question. This will be the
last, one, everyone. Sorry.
Giselle Okay, thank you.
Youíre delivering [ph] this show for an audience that used
to see stories with demons and exorcism. What do you believe
this show brings different or new for this audience?
Rupert Sorry, can you repeat the question?
Yes, you are delivering the show to an audience used to
stories with demons and exorcism. Why do you think the show
stands out, what this brings different and new for this
Rupert I think thereís no show now or even,
I canít think of a contemporary film thatís recently
explored demonic possession in a grounded, real-world sense,
and thatís what we were attempting to do.
Okay, what are your references in the horror genre in films
and TV shows?
Rupert I would say Donít Look Now was a
very big reference for me, the Nicholas Roeg film with
Donald Sutherland, in terms of the atmosphere. I would say
Jacobís Ladder, to an extent, was a big influence to how we
approached this film, in terms of, again, the grounded
nature of the setting. Yes, those two.
thank you so much.
Rupert Thank you.
Thanks, everyone for joining us again. Feel free to email me
if you need anything else. Rupert, thank you so much for
your time today. Again, everyone please tune in and put on
your pieces tune-in will be Friday, September 23rd for the
Exorcist. Thank you!
Rupert Thank you, guys. Thanks,
Erin Thank you.
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