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Ray Pride

By Ray Pride Pride@moviecitynews.com

An exorcism by any other name: pitching Emily Rose

Screenwriter Josh Friedman tells his version of the legendary Emily Rose pitch meeting: ” There’s only one pitch I’ve ever heard of that I wish I would have done. My friends Scott Derrickson and Paul Boardman wrote The Exorcism of Emily Rose… The movie is based on a true case which occurred in Germany around 1970. While researching another project, Paul and Scott were given an audio tape by a NYC police detective who investigated the occult. When he gave it to them he said: “I don’t even know if I should give this to you. I truly believe playing this tape is dangerous.” And what’s on the tape? THE RECORDING OF THE REAL EMILY ROSE’S EXORCISM FROM 30 YEARS AGO. [This tape] inspired them to write the movie. And it was this tape that helped them sell the project. Because what did they do? …They did what you and I would hope we’d do if we were in their position. They’d take that scary-ass tape from studio to studio and play it for people. The way I understood it went…: Scott and Paul would go into the room, do their pitch, and then pull out the tape recorder and some headphones. One of them would say: “There are those that believe just playing this tape invites darkness into our lives.” Then the curious exec would put on the headphones, thus drowning out all other EARTHLY AND NORMAL noise.Then they’d press play… From what I understand the tape is ABSOLUTELY THE MOST TERRIFYING THING YOU’VE EVER HEARD and consists of a girl DYING while screaming in German at two priests attempting to pull SIX DEMONS from her body. Then Scott and Paul would leave.”

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon