IamA Hollywood film director (Killer Joe, The Exorcist, French Connection). I'm William Friedkin. AMA.

Who's idea was it to film the chase scene in The French Connection without closing the streets? That must have made you insanely nervous as the director. Ballsy stuff!

It was my idea. It was very risky and I would never do it again.

Do you think The Exorcist would actually make it past the MPAA in its current form if you tried to release it today?

No.

The Exorcist is potentially one of the scariest and most well known movies of all time. Did you anticipate it having as much of an impact as it did? I've heard a lot of creepy stuff happened around production time as well.

I had no idea. This has been exaggerated to the point of absurdity. There are strange things that happen on the set of every film... sometimes, even in your own workplace or home! I don't remember any incidents that were unusual. The one thing that did happen is that the entire set burned down one day. It took us almost 3 months to re-build it.

First of all, I can't believe Joey Gladstone's AMA is on the front page and this isn't.

Arguably your most famous work is the Exorcist. It honestly goes beyond a horror movie and is simply an excellent film and every time I watch it, it makes me think. It was followed up with several sequels, have you seen any of them? If you have, which one did you feel did justice to the first one? I personally think the Exorcist 3 was great.

Thanks for doing this, and I look forward to your new film!

I haven't seen all of them. But the few minutes of each that I have managed to see seem to me to be awful ripoffs.

As a director, who influenced you the most in the film industry?

Personally, I admire the films of Paul Thomas Anderson and the Coen Brothers. I think they're very intelligent. A lot of their work has extended the possibilities of cinema.

Hi, thanks for doing this. "The Exorcist" is on my personal top ten list, I even visited the house and stairs when last in DC.

I've got two questions:

(1) For me, it's one of those rare projects that works well as both a book and a movie, with the book still feeling literary and the film still feeling cinematic, with neither medium feeling enslaved to the other even though the film is quite faithful. What do you think accounts for that? (Although no doubt Blatty writing both helped a bit, heh.) Put more eloquently, in your view, what are the most important lessons to take from "The Exorcist" in terms of the similarities and differences between literary and cinematic storytelling?

(2) Could you give some insight on the design and inclusion of the 'demon face'? On one level it's so simple, but geez, those quick cuts continue to haunt my nightmares.

A movie must be a condensation of the story- you must make very focused choices on what they intend to keep or not keep. Also, a novelist can go from the past to the present to the future, in one sentence. A filmmaker cannot.

I had to make choices about what portions of the exorcist I could dramatize and what I felt could be jettisoned. There are a number of sub-plots and characters in the exorcist novel that I didn't deal with in the film.

You can read a book over a period of days, weeks, or months, you can go back to certain passages- but a film is usually experienced once-- unless you see it again-- for a period of a couple of hours.

It has been said that you fired a gun behind the mother in the Exorcist to get a more "real" scream of terror. Is this true? If it is, you are my favorite director of all time. If not, I still like your work.

I would sometimes have the prop man fire blanks off the set to get a sudden reaction from the actors. This was originally done by the great American director George Stevens on his film, The Diary of Anne Frank to provoke a sense of fear in his actors, who were supposed to be hearing the Nazi sirens. There were, of course, no Nazi sirens on the set of the movie. When I heard about this technique, I thought it would produce similar results on a number of films I made. It's of course very difficult to say to an actor, "Now you are looking at the face of the demon" and expect him or her to be frightened, when he or she is in fact looking at the face of a 12 year old girl in makeup. The unexpected sound of a gun helps to produce the desired response.

What's the biggest change you've had to adapt to in your years of film making?

Really, for all filmmakers. The limited scope of the kind of films that can be made

When I started making films in the 60s and 70s, it was a much more personal cinema than it is now. The american film is, for the most part, adapted from comic books and video games now. Not exclusively, but for the most part.

It's not an obstacle, it's really a change in the zeitgeist. It's a change of what people are interested in, and a change of what studios want.

There was more of a variety of films being made in the 70s and there was less competition from other media- but today there's enormous competition.

Why on earth didn't you want Gene Hackman originally for The French Connection? He's a great actor and was perfect for that role.

His agent suggested him just before we started shooting the film, but he wasn't my first choice. He had mostly played supporting roles at the time, so I didn't think of him. But he turned out to be great in The French Connection and many other movies. I consider him a gift from the movie gods.

If you didn't make movies, what would you want to be?

Before I saw Citizen Kane when I was 20, I had no particular idea of what I wanted to do. I barely graduated high school and never went to university. My career has come about as a result of ambition, luck and the grace of God. Notice I didn't mention "talent".

The 70's in my opinion was a landmark decade for film making. What direction do you think film making is going these days? Is there anything you praise/dislike about present day film making or the film business in general?

Also, can you describe your emotions when you won the Best Director Oscar for The French Connection?

The filmmaking of the 70s were really based on literature and the life experience of the filmmaker- and today, there's still adaptations of the classics- but for the most part, it seems like they're based on comic book ideas and video games- but it's not a criticism!

Before you get overloaded with questions about The Exorcist, what's the scariest film you've seen?

Without categorizing these films as "genre films": Diabolique (the original french version) Alien Psycho Onibaba by Kaneto Shindo

If you were an aspiring director today how much harder do you think it would be to crack it as a film maker?

It's much easier today to get a film made than it was a while ago. The studios are really run by a lot of young people and they're more apt to look at films that people post on YouTube or something like a short film done for a festival- then they hire this director to do a major feature.

In the 70s and before, you really had to work your way up through all these ranks. There were these long apprenticeships, but today, someone who wants to make films can go out and buy a camera- shoot something- post it on YouTube and elsewhere and if there's true talent there, it's possible that their work can be discovered and they can make that jump into feature filmmaking.

Can you give us any updates on your SORCERER lawsuit? Also, which blu-ray of The French Connection do you approve of?

I've sued Paramount and Universal to determine ownership which they presently claim they don't know. Their first response to the suit last week, was to ask that it be moved to federal court, which we've agreed to. It's now in the 9th district court of appeals.

Sorcerer is one of my favorite films. It's such an intense slog through hell. I'd love to see a director's cut!

(Also the trailer to Killer Joe looks great, can't wait to see it!)

I'm trying to make prints available in both DVD and blu-ray, as well as have the film shown, to all these universities and film societies that want to run it first. That's my only purpose in bringing the suit, it does not involve money. There is no director's cut.

Billy!! I had a great time working with you and the crew on Killer Joe. Would you consider returning to Louisiana for your next project?

It would depend totally on the subject matter - if it was appropriate. There are wonderful crews and good actors there!

Mr. Friedkin, can you please tell us anything about the making of Sorcerer that is not very well known...was it as insane as William Goldman (and Clagett) alleges?

Thanks so much, I've been a loyal fan for over 30 years!

The first time we built the suspension bridge in the Dominican Republic, the river ran dry, we moved the location and built the bridge again over a 12-foot high rushing river in the jungles of Mexico. By the time we started to film, the water level decreased to 2 feet high, so we had to dam the river in order to relocate the water to our location and we had to create a rainstorm in order to mask the fact that the river was so low.

Who's your favorite actor/actress you like working with or hope to work with?

These are the actors I wish I’d worked with: Humphrey Bogart, Steve McQueen, James Cagney and Paul Newman. They’re all gone now, of course.

I'm a huge fan of all your films, "The French Connection" is easily in my top 3 favorites. I'd like to ask you two questions:

I'm curious, will we ever see a special edition release of "Sorcerer" on Blu Ray or DVD? Some may call it blasphemous, but I consider it better than Clouzot's.

Do you know much about the original story of "The Exorcist" that took place in St. Louis in the 40's? Many of those reported events took place in the house where I was born and grew up in.

EDIT: Links in comments below for those that have questions or are curious about the house I lived in.

Thanks, can't wait to see the new film!

I know pretty much everything about that case, it was in 1949 and a portion of the exorcism took place at Alexian Brothers Hospital in St. Louis. It originated in Silver Spring, Maryland. A young man who was the victim at the age of 14 is still alive.

Your films have incredible, offbeat music selections. Everything from "Tubular Bells" to Wang Chung to Jeff Beck & Nile Rodgers add to your films in startling ways. How do you choose the artists to score your films? Is it an open collaboration from the beginning, or do you usually bring in the musical element after shooting?

It really varies- Sorcerer and To Live and Die in LA were actually inspired by the music of their composers. The Exorcist score is made up of fragments from various pre-recorded pieces of classical music that I felt were appropriate.

With other films of mine, such as Killer Joe and The French Connection, I sought out their composers after I had finished the film.

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Not really at this moment. But budget is not the most important thing- only the story.

The movie Killer Joe looks awesome. What was it about Matthew that made you want to cast him? Was he your first choice?

The first quality I look for in an actor is intelligence; the ability to understand and portray the character in a way that's compatible with my vision.

Matthew knew and understood this character, having grown up in that part of Texas, where the story is set.

Emile Hirsch, Gina Gershon and Thomas Haden Church were my first choices as well. But I was unaware of Juno Temple until she sent in an unsolicited audition tape.

Hi, thanks for doing this. I noticed, you're on Twitter, and now Reddit - what's next? More importantly, is online and digital is the new way to go for filmmakers? You think it makes things better or worse?

It's interesting and exciting to share thoughts with people from around the world who have similar or different interests from mine on a daily basis.

Do you feel like you're part of a creative comeback for Matthew? What is he like to work with?

This is a departure from his other films, but it's a direction he now wants to continue. He's a terrific actor who has been mostly cast for his good looks, which I think has limited him and made him rich.

What are your thoughts on the crap that passes for horror these days?

I see few if any of them these days, so I can't offer a real opinion- but I did like The Blair Witch Project and the Paranormal Activity series.

Killer Joe is the second Tracey Letts stage to screen adaptation you are directing, after your chilling and beautiful work with Bug. What attracts you to Letts' work and how is it working with him as a screenwriter? Would you consider directing any other adaptations of his?

I also want to thank you for The Exorcist and for opening up to Reddit.

Our world-views are similar. I think he's one of the very best dramatists in America and I hope we can find something of mutual pursuit.

Hi Mr. Friedkin big fan of The Exorcist and The French Connection.

1. One of my Professors said he worked on The Exorcist as a PA when he was younger and that you wrote him a letter of recommendation to USC. His name is Mick Curran do you remember him by any chance?

2. What do you think is the biggest challenge facing aspiring directors today and what advice would you give them?

Finding and being able to express your own individual voice, rather than rip-off somebody else, is probably the biggest challenge.

What was it like directing the last-aired episode of The Alfred Hitchcock Hour? Did Hitch himself have much or any creative input?

Also, are you related to writer/director/producer David Friedkin? (He also directed a number of Hitchcock TV episodes.) I don't see either of you mentioned in each other's bios.

It was the 10th and final year of the Hitchcock Hour, he had little (if any) creative input. The episode I did wasn't very good.

Hi, Mr. Friedkin, it's an honor to speak with somebody as respected as you. Here's my question: Since you have been involved in arguably some of the finer pieces of cinema, how do you feel about the current state of films (specifically mainstream American blockbusters)? Are you planning on bringing back the golden age of American cinema with "Killer Joe"? What is next for the esteemed William Friedkin?

Thank you. I'm working on a thriller from an original story of mine to be filmed in Europe in January. Meanwhile, I just finished my memoirs for Harper Collins, which will be released next spring. There will also be an e-book where you can view the scenes I've shot as I describe how they were done.

Big fan of your work, from the Exorcist to Bug. What made you decide to go with NC17?

Also, many people I know felt misled by the trailer for Bug, the film is much more dark and brooding than the trailer portrayed. Do you agree?. Do you have any stories of battling with networks over marketing or perhaps what you had to go through to get your film released in NC17?

Thank you again for doing this.

To conform to the MPAA's response to the film, I would've had to have destroyed it. Fortunately, LD Entertainment, the distributors, share my view. The ratings board has given far more lenient ratings to films that are far more disturbing than Killer Joe. Why? Because they can. But Mickey Liddell, the distributor, agrees with me. There's no point in destroying the film in order to save it.

As an aspiring screenwriter, I was curious how involved were you in the development process for The Exorcist? Did you work intensively with Blatty in adapting the script from his novel? As a director, did you rely more on Blatty's script or novel in developing the visual style of the film?

What films in the past couple years were you most impressed by?

Finally, what advice would you give to aspiring screenwriters and directors?

Love your work and best of luck on Killer Joe.

For the visual style, it was completely on the novel. We worked together for at least six months on the script- during that process, I would express my ideas to him- but the screenplay was totally twice.

What are your thought on director's cut , or final cuts released on blu-ray or dvd. Do you see it as cheapening what is exhibited in theaters, or as another opportunity for directors to work out what ever issues he or she had with the theatrical version.

I think more often it's a way of expressing a filmmaker's original intent. But that doesn't mean it's a better version. I have read Scott Fitzgerald's original version of "The Great Gatsby". And it's not better. In fact, it's worse than what he finally published. There are 9 additional scenes that I shot for The French Connection. Later in the editing room, I took them out because I thought they were unnecessary and hurt the pace of the film. I would never want to see them re-integrated. A so-called Director's Cut is often no more than a marketing tool.

First just want to take the time to thank you for doing this and making great films. A few questions I have.

I just recently watched Cruising and thought it was very good. Were you surprised by the backlash of the film at the time of the release?

I am 24. My friend and I co-wrote a horror film which we were able to find funding for. He is directing and we shoot in July. Any advice for two young first time filmmakers trying to make a meaningful entry into the genre, and make more films?

I thought it would be controversial but I didn't realize HOW controversial!

These days, hidden details in a film or a DVD can be referred to as "Easter eggs." I suppose you would have just called them craft back in the day.

I remember seeing The Exorcist in a theater in high school, seeing what I thought was graffiti scrawled on the wall of an exterior staircase, hearing that you or your editor had spliced images into extended scenes to prime the audience for emotional reactions.

How much of that was urban legend, and what exactly do you recall doing? Do you remember why you arrived at the point of making those conscious decisions? (I see elsewhere you said you believe films condense stories and you wanted that particular movie to carry the same impact the novel made on you, so perhaps those approaches were influential to you.)

By the way, I always loved the extended realism of the Popeye Doyle car chase through heavy bridge traffic in The French Connection. I'm sure you've been complimented on that many times, but it had a realism to it that I associate with some of the most masterful mid-1970s films (The Conversation, Dog Day Afternoon, Straw Dogs, Taxi Driver).

None of that is true actually. If there was graffiti on the walls surrounding that staircase, it was there before we filmed it. And I remember specifically graffiti wasn't as "artistic" back then.

how would you say your approach to directing has changed over your career? do you feel more free to do what you want now that you have established such an extensive, admired career for example?

I may have gotten a little better at it, from experience. But that's for the audience to decide. I've only made - I think 15 or 16 films over 45 years of doing it. But I've certainly learned from each one, whether it be techniques, or the ability to communicate easier with actors.

Vulture reported today that the director of Martha Marcy May Marlene wants to make a tv series out of The Exorcist.

What are your thoughts on how The Exorcist might work as serialized drama?

I have no way of knowing that, anything is possible. It would be of no interest to me.

How does it feel to be one of the many many people who started out in cinema through Citizen Kane? Do you still love it as much today? Could you tell us how the transition from High School to full productions took place? Filmmaker myself, extremely honored.

I've seen that film more than 200 times, since 1955- I've continued to be inspired and amazed by it. It synthesizes everything that came before it and it points the way to the future.

It was released in 1941, but there have been many filmmakers since who, like me, continue to be affected by it.

Looking back at Minsky's, I've heard it wasn't your favorite thing to work on at the time, has time given you some perspective/positive memories of that experience?

I have few, if any positive, memories of it. But when I made the DVD recently, having not seen the film for 40 years, I thought it had some pleasant and amusing moments.

Thank you for doing this, it's great to get a chance just to read your answers. There seemed to be a string of devil movies to come out and be extremely popular in the late 60's & 70's (yours, Rosemary's Baby, and the Omen), could you maybe talk about why that was? Also, is there anyone you would like to work with today?

Undoubtably because of the success of Rosemary's Baby and The Exorcist. I've seen few of any of them, so I can't comment on many of them.

Huge fan of your work.

You won an Oscar for The French Connection (definitely in my top 3 all time), what inspired you to make a movie about such a touchy subject; and since you've stated that Gene Hackman wasn't your first choice for Popeye Doyle, who was?

Believe it or not, our first choice was Peter Boyle. I thought the story was fascinating and original at the time, but it was the contrast between the two cops and the two French guys that most intrigued me. Though the cops represented law enforcement, they were bad-ass. And the two French dope smugglers were otherwise gentlemen.

I really like your movies and some of the stylistic choices you have made, my personal favorite being To Live and Die in L.A. As an aspiring screenwriter, how much of the writers original vision usually ends up making the final cut? Also, how often do "happy accidents" occur when an actor will go off script and ad-lib and it turns out to be better than what was scripted. Thank you for doing this and continue to make great movies!

I wrote that script and revised it constantly during the process of filming it. There were many spontaneous contributions from the actors that were not scripted and I always welcome and relish that.