Get to work, Billy!

Picture 28With all the festivals and screenings and book signings over the last month or so, you’d think Friedkin would be sick of this thing by now. Lucky for us, he’s not.


About Toby

I'm a writer. And a dad. And a husband. And a record collector. And a movie geek (if the movies are old). And I really wish I had a hot rod.
This entry was posted in Festivals, screenings, William Friedkin. Bookmark the permalink.

4 Responses to Get to work, Billy!

  1. PatG says:

    Looking forward to news on the Venice appearance, holding out hope for some useful tweaks to the material when the DVD/BluRay becomes a reality, plus extras. How about all the un-used bits of T’Dream score, hmmm? Pleeeaase?

  2. Northern Star says:

    Why would Friedkin be sick of the renewed attention and interest that ‘Sorcerer’ is receiving? He clearly put his heart and soul into that film, put his entire cache (not to mention career prospects) on the line for it, and delivered one of the GREAT American movies of the last four decades… the fact it bombed so hard and was (largely) critiqued so viciously clearly hurt Friedkin both personally and professionally, and to see it rise phoenix-like from it’s box-office ashes, gain such a wide reappraisal from audiences (not to mention from many critics who initially hated it), and grow in overall stature and reputation over the years to the poiint that the sheer demand for both 35mm theatrical prints and a decent home release presentation led to the genuinely exciting situation we’re in now must be very heartening, gratifying, and extremely validating for Billy Friedkin, his folly has become his masterpiece, the poop in the ointment has become the jewel in his crown, he’s probably having the time of his life right now, and rightly so!

    It’s just a pity Roy Scheider isn’t still with us to share in the remarkable reversal of fortune for ‘Sorcerer’…

    • I don’t think Toby meant it literally, it was just to make a contrast. However, it’s nice to see the momentum getting shifted, now people will spam him about Sorcerer ad nauseum instead of the usual combo of French Connection, The Exorcist and occasional Cruising / To Live and to Die.

  3. Some funny review, I mean it’s positive but the guy gets some things wrong, or at least I could argue about some of them:

    “As well-paced as that is, once the trucks start moving then the pace of the film is all over the place and unless I turned narcoleptic during the film, the editing and continuity was really odd and made no sense. How come we only see one truck going across the first bridge? How come we only see half the trek across the second bridge by the second truck and then we don’t see if it actually makes it? Why do the drivers of the second truck, when the first is stopped in its tracks by a fallen tree, approach on foot? Where is their truck?”

    In the deleted scenes which were re-used for the international cut, there is a shot of their trucks passing that fallen tree which was deliberately cut in order to maintain nihilistic mood. As for the bridge, the rapid cut at the end made things suspenseful. In the German cut it segued into a POV shot of extremely foggy forrest, which was an act of natural progression but to me it also removed suspense, because at that point I didn’t know if Serrano and Martinez made it or not. As for the first bridge which I assume is the wooden planks sequence, I think Friedkin wanted to show Serrano / Martinez exclusively on their own in order not to focus exclusively on Scanlon / Nilo. And there were additional 2 deleted set-pieces with Scanlon / Nilo by the way, so that would be WAY overkill. And btw – the guy used MY wikipedia article as a point of reference which makes me extremely happy! 🙂

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