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華納影片公司２００４驚嚇片王
史上最恐佈電影．．．恐佈之源
３０年驅魔之謎，即將揭破！
《虎膽龍威2》《深海變種》導演 - 蘭尼夏連Renny Harlin
本年度最驚世鉅獻
荷里活金像獎陣容攜手鉅獻
《異形》系列監製 - 佳麥艾榮 Guy McElwaine
《末代皇帝溥儀》金像攝影大師 - 域陀里奧史杜拉奴 Vittorio Storaro
《未來戰士》剪接 - 麥克哥巴特 Mark Goldbatt
《絕世天劫》音樂 - 泰化拉賓 Trevor Rabin
《無頭谷》特技化妝 - 加利東尼基夫 Gary Tunnicliffe
１０月２１日 魔驅人
驅魔之源 _____________________________________________________
被譽為電影史上最恐佈的電影《驅魔人》(The Exorcist)，攝製於1973年。影片根據一件發生在1949年的真人真事改編，事件中一名14歲美國少年被父母發現行為忽然失常，睡房中除不斷發生劇震等異常景象外，少年經常做出常人無法想像的自殘行為，身上並出現怪異的符號和呻吟出無法辨認的語言。他的父母請來天主教神父以十字架及聖水為他驅魔，但卻令少年身體變得扭曲與浮腫，且流出綠色濃液，及後教會派出另一神父進行正式的驅魔儀式，經多夜驅魔後，終挽救了少年性命。
由小說變成恐怖電影經典_________________________________________
這個震驚全球的驅魔故事被威廉彼得畢拉迪(William Peter Blatty)寫成小說，一紙風行，他更自行監製及編劇，將小說搬上銀幕，並請來《密探霹靂火》金像導演威廉佛烈堅(William Friedkin)執導。
《驅魔人》電影推出後，震驚世界影壇，觀眾無不被電影的恐佈氣氛迫得透不過氣，片中女主角頭顱作360度旋轉，口吐綠色唾液等經典場面，令人震驚。影片在歐美熱映數月，有觀眾因受不住片中的驚嚇氣氛而暈倒。影片全球總收入超過三億，並獲10項奧斯卡提名，掀起了全球恐怖電影熱潮。
《驅魔人》多年被奉為恐怖電影之經典，續集與第三集相繼於77年及90年推出。
2000年，《驅魔人》不經刪剪版本推出，再次掀起恐怖電影熱潮，新一代觀眾無不被這個驅魔故事的獨特性與爭議性所吸引。電影公司早已想將《驅魔人》故事發展前傳電影，不過令全球影迷意想不到的是，《驅魔人前傳》，要等待《驅魔人》公映30年後才與觀眾見面。
《驅魔人前傳》故事簡介__________________________________________
《驅魔人》故事講述12歲女孩Regan被邪靈上身，年老的梅林神父為她驅魔，引出人魔決鬥的震撼故事。
《驅魔人前傳》講述梅林曾於25年前，因受邪靈的影響而離棄神，及後變成真正驅魔人的驚心歷程。
《驅魔人前傳》的背景發生在第二次世界大戰時，納粹橫行，生靈塗炭，梅林神父眼巴巴地看著他教區內的人民無辜地受到納粹黨的冷血殺害，他愛莫能助，納粹軍官更對他說：「神父，神今天不在這裡。」他認為他一直所相信的神拋棄了他，便毅然放棄當神父，決定離開荷蘭家鄉以忘記這段可怕經歷。
當他流浪到開羅的時候，遇到一位專收藏奇異古物的收藏家，這位收藏家游說他跟隨一班考古學家到偏遠的肯雅進行考古探索。他們在非洲發掘到一座非常原始的拜占廷教堂，這座教堂竟驚奇地完整無缺，好像在剛建成之時便已被埋葬了。這位古怪收藏家希望梅林能協助他在其他考古學家發現前，發掘出這座教堂的一件秘密遺跡。
梅林在當地認識到法蘭斯神父、莎拉博士及8歲小孩約瑟。法蘭斯神父於梵諦岡受訓，為人正直，更希望梅林能重新尋回信仰，再當上神父。約瑟是個天真及充滿好奇心的小孩，深得梅林愛護。莎拉博士為當地的醫護人員，由遠方專程來到非洲為當地的土人治病，對梅林有一種微妙的感情牽引。
連串恐佈事情陸續發生，沒有人知道當那些考古學家在發掘時己喚醒了久被埋藏的魔鬼力量。約瑟被邪靈上身，引來一群兇猛土狼，竟將他的兄長活生生咬死。一位法國考古學家更在發掘出教堂後被關進瘋人院，更於梅林面前離奇地自殺。梅林為了拯救被邪靈侵害的約瑟，不惜再一次走進這座陰森的教堂，再次要面對魔鬼的恐懼，他能否驅除心魔，力抗邪靈？
《虎膽龍威2》 《深海變種》導演首次展現恐怖魔力___________________
導演蘭尼夏連以拍出色的動作片見稱，如《虎膽龍威2》,《深海變種》等，今次突破地創出驅魔人傳說。他說：「我是恐怖片迷，我一向以拍動作片聞名，今次我則拍攝我所喜愛的恐怖片，事實上《驅魔人》是電影史上其中一部最恐怖的電影，亦是其中一部我最喜歡的電影。」
導演蘭尼夏連說：「我希望觀眾看完前傳後再看《驅魔人》，可以完全明白故事情節。我希望我的電影能帶給觀眾有驚喜的感覺。」《驅魔人前傳》 講述於二次世界大戰時期，年輕時的梅林離開家鄉荷蘭，首次接觸到邪靈的故事。故事的中心是描述當時梅林的掙扎，在迷失當中找回自己的信仰。
導演認為史達倫史加斯格飾演覺悟的梅林神父最適合不過。他說：「1973年的《驅魔人》由麥士馮西度飾演梅林神父一角，麥士與史達倫同是瑞典著名演員，他們的外貌相似，因此可令兩集電影產生連貫性。」
當梅林流落到開羅的時候，他與一群英國考古學家到肯雅探索，卻離奇地發掘了一座教堂，這座教堂在5世紀時建成，但當時天主教尚未傳到這個國家，當他們一直探索的時候，恐怖的事情陸續發生，令他們在當地聘用的工作人員不能進入。
梅林並不喜歡與正直的法蘭斯神父一起，法蘭斯神父於梵諦岡受訓，當發現了那座離奇的教堂後，羅馬教廷即命法蘭斯改變進程，確保他們在發掘時要尊重教廷。法蘭斯亦幫助梅林重新尋回信仰。
導演夏連說：「法蘭斯與梅林的關係十分有趣。如在發掘期間，法蘭斯很像埋藏了很多秘密而等待梅林揭開，占士達斯演繹法蘭斯這角色時亦演繹得非常好。」
曾演出《新鐵金剛2之金眼睛》及《終極天險》的伊莎貝拉史歌拉高飾演莎拉博士，她特別來到非洲這些小村落幫助這裡的居民，她過去充滿很多不愉快的經歷，因此個性變得強硬，不輕易放棄。
導演花了很長時間才找到合適演員演出莎拉博士一角，他稱讚伊莎貝拉是位專業演員。他笑說：「史達倫及伊莎貝拉來自瑞典，我則來自芬蘭，所以我們可說同一種語言，說同一類笑話，可在監製背後說笑呢！」
伊莎貝拉很高興能與史達倫合作，她甘願帶同她剛出生才４個月的兒子由瑞典飛抵羅馬工作。她說：「史達倫是瑞典中其中一位最受人尊敬和愛戴演員。夏連亦是位天才導演，他勇於嘗試，讓你自由發揮你的演繹方法。」
此外，本片還有一位難以演繹的童角約瑟。約瑟是位８歲小孩，他與一位前神父是朋友，但那位前神父能力不逮而令他被邪靈纏繞，梅林與莎拉非常擔心他的安危。約瑟這角色由蘭美史雲尼主演，導演夏連稱讚這位小演員表現出色。他說：「他擁有活力和靈感，正正是我們所需要的。」
羅馬片場重塑古代華麗教堂_______________________________________
《驅魔人前傳》的故事場面分別在荷蘭、開羅及中非多個國家發展，這些場景主要在羅馬著名的Cinecitta片場拍攝。導演夏連說：「我們運用多種不同的技術，佈置一些大場景，令你有如置身中非一樣。當拍攝到在荷蘭二次世界大戰發生的場面時，我們建造了一些荷蘭的建築物。」
《驅魔人前傳》由Stefano Ottolani擔任製作設計，他進行了多項資料搜集，才設計及建造片中那座華麗的教堂。教堂的圓頂由很大的鋼架支撐著，他亦建造一些地台以配合電力和燈光設備。這座教堂表達了馬賽克式的場景，Stefano Ottolani說：「我們曾經研究過馬賽克式的場景，認為需要花很多時間建造，因此我們採用羅馬式建築設計，再根據傳統的基督教概念由英國藝術家塗漆。」
製作組利用玻璃纖維製造了一座大峽谷，面積為262尺x197尺，高33尺，經過電腦特技加工，這座大峽谷可放在不同場景拍攝，它的水平線根據不同的地方而改變。
奧斯卡金像獎攝影大師協力操刀__________________________________
導演夏連慶幸能與意大利著名攝影師域陀里奧史杜拉奴合作，域陀里奧史杜拉奴曾分別憑《現代啟示錄》、《亂世情天》及《末代皇帝溥儀》三次奪得奧斯卡金像獎。他稱讚域陀里奧史杜拉奴的拍攝令電影更美麗、更驚心。域陀里奧史杜拉奴在表達故事的內容及意境時，並沒有採用對應的燈光拍攝。他說：「導演希望能拍攝出梅林的情感，我嘗試去理解他當時內心的掙扎，這是關於現實與超現實之間，他一時感到無助，一時間他的情感又湧現，令他可重新開始。」
邪靈的面貌______________________________________________________
1973年《驅魔人》電影推出，是當時首部採用特別效果的驚嚇電影。2004年所拍攝的前傳，導演並不想只用顯眼的特技來滿足觀眾，他們要利用特別效果令觀眾再感受到原著那種震撼的恐懼感。
《驅魔人前傳》由加利東尼基夫擔任化妝特技監督，他曾參與一系列的恐佈電影包括《無頭谷》。他率領一組工作人員負責特技化妝以及設計一些錯綜複雜的道具包括有那些傀儡及宗教神像。這些道具由雕塑、倒模到油漆，均需很長的預備時間。
此片的特技化妝重點在於魔鬼的形象上，當它以人的化身出現的時候，化妝師便需要為他化一個令人感到熟悉的臉。在籌備期間，加利東尼基夫向《驅魔人》的化妝師Dick Smith 請教，《驅魔人》中飾演Regan的Linda Blair擁有一副圓圓的蘋果臉，加利東尼基夫特別為今集《驅魔人前傳》的邪靈，設計了一張不對稱的臉，再加上一些破爛的傷口。加利東尼基夫說：「我十分喜歡邪靈會自殘身體的概念，我們採用特別的隱形眼鏡，令魔鬼的眼部爆裂，又令它的牙齒加上牙石，令它的容貌可怖。
雖然今集《驅魔人前傳》與《驅魔人》推出時已相隔超過30年，但是前傳的特技效果仍可與Dick Smith的《驅魔人》配合，加利東尼基夫說：「我們採用傳統及真實的乳膠物料製作，這正正與當年Dick Smith所採用的一樣，只是我採用不同的顏料和較為舒適的隱形眼鏡。」
工作人員需花上大約4小時為演員化妝，他們將所有化妝品、裝飾用的強力膠直接貼在演員的皮膚上，演員更需維持整個妝容直至完成一整天的拍攝工作。
加利東尼基夫在本片中所面對的另一項挑戰，就是要設計那些土狼，基於安全理由，製作組並不能採用真實的土狼拍攝。加利東尼基夫說：「我為我們所設計的火狼而自豪，基於安全理由，我們並不能以真實的土狼來拍攝牠們攻擊人類的情景，而事實上，我們亦很難拍攝到真實土狼的活動情況。」他們與CGI部門合作，先用遠鏡拍攝真實土狼的的活動情況，然後用近鏡拍攝小土狼，小土狼對人類的威脅較小。最後出來的製成品與真實的土狼非常相似。
演員及導演介紹
史達倫卡斯格Stellan Skarsgard飾演 梅林神父
瑞典頂尖的舞台劇和電影演員。1982年他參演的瑞典電影《The Simpleminded Murderer》於柏林電影節中獲最佳男演員獎。他於荷里活電影《驕陽似我》飾演Lambeau 教授一角最為美國人熟悉，他亦曾主演史提芬史匹堡執導的《斷鎖怒潮》，他近期的作品有夥拍麥迪文主演的《City of Ghosts》及妮歌潔曼與保羅斑特尼主演的《Dogville》。
占士達斯James D'Arcy飾演 法蘭斯神父
現居於倫敦，曾於英國受訓，並參演多部英國電視劇，他近期的電影作品有羅素高爾主演的《軍天勇將：戰海豪情》。
伊莎貝拉史歌拉高Izabella Scorupco飾演 莎拉博士
生於波蘭，小時候隨母親移居瑞典，是位出色的演員、歌手及模特兒。她第一部參演的電影為《新鐵金剛之金眼睛》，夥拍皮雅士布男，飾演性感的俄羅斯電腦程式員。其後她夥拍基斯奧當奴，合演《終極天險》。
蘭美史雲尼Remy Sweeney飾演 約瑟
1995年出生，自小已對娛樂事業甚具興趣。1993年他入讀英國戲劇學校，繼而被邀參演多部電視劇集。《驅魔人前傳》是他第一部參演的電影。
導演─蘭尼夏連Renny Harlin
1993年，他執導並監製《絕嶺雄風》，奠定他在荷里活首席動作導演的地位。1997年他執導及監製森姆積遜主演的《特工狂花》，口碑載譽。他曾執導多部賣座動作電影，包括布斯韋利士主演的《虎膽龍威2》及森姆積遜主演的《深海變種》，《深海變種》的全球票房更累積超過16億。
God is not here today, priest.
Father Lankester Merrin thinks that he has glimpsed the face of Evil. In the years following World War II, Merrin (STELLAN SKARSGARD) is relentlessly haunted by memories of the unspeakable brutality perpetrated against the innocent people of his parish. In the wake of all he has seen, both his faith in his fellow man and the Almighty have deserted him. He can no longer honestly call himself a man of God.
Merrin has traveled far from his native Holland in a desperate attempt to escape the horrors that he witnessed there. While drifting through Cairo, he is approached by a collector of rare antiquities to join a British archeological excavation in the remote Turkana region of Kenya. They have unearthed a Christian Byzantine church in inexplicably pristine condition - as if it had been buried on the day it was completed. The collector wants Merrin, an Oxford-educated archeologist, to find an ancient relic hidden within the church before the British discover it.
But beneath the church, something much older sleeps, waiting to be awoken. Madness descends upon the local villagers and the contingent of British soldiers sent to guard the excavation. Merrin watches helplessly as the atrocities of war are repeated against another innocent village - atrocities he had prayed never to see again. The blood of innocents flows freely on the East African plain, and the horror has only just begun.
In the place where Evil was born, Merrin will finally see its true face.
Warner Bros. Pictures presents, a Morgan Creek production, Exorcist: The Beginning, directed by RENNY HARLIN and starring STELLAN SKARSGARD, JAMES D'ARCY and IZABELLA SCORUPCO. The film is produced by JAMES G. ROBINSON, executive produced by GUY McELWAINE and DAVID C. ROBINSON. Story by WILLIAM WISHER and CALEB CARR, screenplay by ALEXI HAWLEY. VITTORIO STORARO serves as cinematographer. The film is edited by MARK GOLDBLATT. Music by TREVOR RABIN.
Exorcist: The Beginning will be released in the U.S. by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and internationally by Warner Bros. Pictures and Morgan Creek International.
* * *
ABOUT THE PRODUCTION
One of the most terrifying films of all time, The Exorcist has been the source of countless nightmares since its debut in 1973. Written by William Peter Blatty and directed by William Friedkin, the film graphically chronicles the macabre story of Regan, a 12-year-old girl who becomes demonically possessed. The only force that can release her from the demon's grasp and end her torture is a powerful exorcism, performed by Father Lankester Merrin in a ritual that almost kills them both. Exorcist: The Beginning takes audiences back in time, 25 years into Father Merrin's past, to illuminate the horrifying events that first turned him away from God, then ultimately led him down the path to becoming an exorcist.
Director Renny Harlin, known for the dynamic directing style he has brought to hit action films such as Die Hard 2, Cliffhanger and The Deep Blue Sea, has created a new chapter in the Exorcist legend. "I am a huge fan of the horror genre," says Harlin. "I'm known for my action films, but I started in horror and it is a genre that I've always loved and admired. And obviously the original Exorcist is one of the most famous horror films ever made. It's one of my favorite films, so when this opportunity came across my path, I just couldn't pass it by."
Immediately after shooting began in Rome, the director was seriously injured when he was struck by a car. "I broke my leg pretty badly," he recounts, "so I had to shoot the entire movie on crutches with a cast on my leg, which was definitely tough and frustrating. But I think that it contributed to the movie in that it made me really sit in one place and think hard about what I wanted to do.
"In doing a prequel, I tried to set up a lot of those unanswered questions that are posed in the original," Harlin continues. "There are a lot of open plotlines that are never explained, including a comment about an exorcism that Merrin had performed years ago in Africa. I wanted to make it so that if you watch this film and then watch The Exorcist, the original naturally follows, as if it were the sequel. I wanted to really find the way into people's minds and hearts, to give them an experience that would satisfy them as well as horrify and surprise them."
The story begins with a broken and desolate Father Lankester Merrin who, in the wake of his agonizing experiences in his native Holland during World War II, has traveled the world in a vain attempt to escape the horrors of his past. "We chose to tell the story of Father Merrin as a young priest," says Harlin, "and learn how he first came into contact with the demon. The central story of this movie is really Merrin's struggle to find his faith again. We learn that something absolutely horrific happened to him that made him walk away from priesthood, and he's lost his faith in everything, including himself."
Stellan Skarsgard plays the disillusioned priest, a role that Harlin found particularly fitting for the actor. "Max Von Sydow played Father Merrin in the 1973 original," says the director, "and I think there's a very natural connection. Both actors are Swedish, they look alike, and both are fantastic actors who are renowned both in their own country and abroad. Stellan brought a real sense of reality to this part."
Skarsgard himself did not feel daunted or bound by the famous performance of his predecessor. "I've given my own take on the character," he says of his approach to the role. "In The Exorcist, Max portrayed the character of Merrin as an old man who was nearing the end of his life. You can't tell what he may have been like when he was younger, so I had the freedom to approach the character in my own way."
During his travels through Cairo, Merrin is approached by a stranger for an unusual assignment. The British government is financing an archaeological dig in a remote area of Kenya, and they have uncovered a striking discovery - a perfectly preserved Byzantine church that appears to have been buried immediately after it was constructed. His mysterious patron wants to hire Merrin to covertly search the site for a religious artifact, a small sculpture that he wants to secret away from the British contingent for his own private collection. Intrigued, Merrin agrees to take on the job.
"What they have found there is a church in a place where no church should be," explains Skarsgard, "because it was built in the fifth century and at that time Christianity hadn't yet arrived in the region. When they begin to excavate the site, disturbing things start to happen and the Turkana natives whom they've hired on as workers begin to refuse to enter it."
Merrin unhappily finds himself joined by Father Francis, an ideological young priest who was sent to Africa to begin missionary work. "Father Francis has been studying at the Vatican," says James D'Arcy, who plays the earnest priest. "Upon discovery of the church, the Vatican orders him to change course to Kenya. He is charged with making sure that the religious aspects of the excavation are given the proper consideration and respect, and when he hears that Father Merrin is joining the dig, he believes they will have a common purpose."
When they meet, however, he finds that he is quite alone in his endeavor. "Father Merrin is in a pretty bad place in his life," says D'Arcy. "He's rejected God and as the film progresses Francis is trying constantly to persuade him to re-discover his faith and to help as things become progressively stranger and stranger and more sinister. And Francis has to help him, persuade him that falling from God was the wrong thing for him to have done."
"There's an interesting tension between Father Merrin and Father Francis," notes Harlin, "because they're both in the middle of nowhere working at the dig, and the suspicion starts growing that maybe Father Francis knows much more than what he shows and maybe there are lots of secrets that Father Merrin has yet to discover. We were very lucky to get James because he's a really strong young actor and delivers a wonderful performance as this young, idealistic missionary. And at the same time, you see behind his eyes that maybe there's something more going on."
Merrin soon finds he has a like-minded ally in the suspicious and fearful climate. Dr. Sarah Novack has come to the region to try and bring aid to its inhabitants. But she has had to overcome the suspicion of the Turkana tribesmen, whose mistrust of all the newcomers who have descended upon them only deepens as their land becomes increasingly corrupted by dangerous forces.
The role of Sarah is played by Izabella Scorupco, who has appeared in films such as Reign of Fire, Vertical Limit and GoldenEye. "Sarah has made the choice to come to this little village in Africa to help the people she feels need to be taken care of," says the actress. "She's a woman with a past full of suffering and she wants to do something good, to try and make up for the ways in which the world is so unfair. She's a very strong personality, and she's not going to give up."
Scorupco has vivid memories of her first encounter with the original film. "The Exorcist is definitely the scariest movie I've ever seen in my whole life," she says. "I remember being twelve years old and not being able to sleep for weeks and weeks after I saw it. At that age you get together with your friends and you watch it over and over again. It's all about thinking what could be around the next corner."
"I searched long and hard for an actor who could fill the shoes of this character," says Harlin. "Izabella is perfect in the role of a professional, strong woman who can survive in these very harsh conditions and still do her job. Also, one thing that made the experience of making this film very nice was the fact that many of us are from Scandinavia. Stellan and Izabella are both from Sweden and I'm from Finland, so we can speak the same language and we can share some of the same jokes, and," he adds laughingly, "talk behind the producer's back without him knowing what we're saying!"
Her co-star and director were a large factor in Scorupco's decision to accept the role. "What convinced me to fly to Rome with a four month-old baby was the chance to work with Stellan Skarsgard," she recalls. "I am from Sweden and he's one of our biggest, most respected actors. It is just the most beautiful gift to be a part of the production where he is and be around him and his energy. And of course, Renny Harlin is an extremely talented director and such a great spirit to be around. He's an extremely hard-working person, but also very playful. He likes to try out different things, and he allows you to do whatever you feel could be right for the scene without fear."
"Renny creates an atmosphere on the set where it's fun to come to work," agrees D'Arcy. "He leads from the top, and he creates an environment in which people want to play. He's not forever calling 'cut,' you just keep rolling and go back and find a new moment and see it from a different perspective. And he's incredibly competent with the camera. I've never seen anybody throw the camera around so happily and without any worries of, 'how do I cut that scene together?' He absolutely is the master. It's terrific to be around him."
Both Father Merrin and Sarah fear for the safety of Joseph, a young African boy who befriends the former priest, but they are powerless to stop the terrifying events that are unfolding around him. As darkness descends upon their village, Joseph and his family become deeply embroiled in the evil in their midst. It's a demanding role, but young actor Remy Sweeney quickly proved he was up for the task.
"Joseph was a difficult character to cast," says Harlin, "because he's only about eight years old. I went through a couple hundred young actors, and when Remy walked in, I knew that I had found my guy. He was just this ball of energy and inspiration and I could just see that he had the kind of imagination that we needed for the part."
"Remy is a natural - he's just got it," agrees Scorupco. "You see him onscreen and you know that this little guy is going to be something!"
When filming initially began, Sweeney was seven years old. (He celebrated his eighth birthday during filming.) "This is my first movie so I was very nervous," says Sweeney, a U.K. native. "I was excited to be on set, especially when I got to watch the monitor and see what I'd done."
As the local tribes become convinced that the presence of the outsiders is responsible for the madness that has engulfed them, tensions threaten to explode. British soldiers are brought in to keep the peace, but they only contribute to the chaos and push the situation to its breaking point, and Merrin must watch helplessly as his wartime memories of innocence corrupted by cruelty and evil are played out once again.
"In this story, evil exists in its pure form," muses Skarsgard. "It's manifested in the presence of the Devil. It's one of those stories where evil is purified and good is to a certain extent purified as well. It's not like in real life where there are no good guys and bad guys. Merrin's battle with faith is one part of the story, and his battle with evil is another."
The priest becomes convinced that the source of the escalating atrocities lies not within the church itself, but below it, where the oldest evil has been lying in wait for an eternity, waiting to be released. But if he is to have any chance of defeating it, Merrin will have to recover the faith he thought was lost to him forever. "This isn't a fantasy story," says Harlin. "It's a very primal story, about God and about the devil. Without one, there cannot be the other. So if you believe, you have to believe in both."
BUILDING THE BATTLEGROUND
While Exorcist: The Beginning was filmed entirely at the world-famous Cinecittà Studios in Rome, the action of the film takes place in the disparate locations of various sites in Africa, Cairo and Holland. "Creating the feeling that you are in the middle of Africa is not that easy when you're actually just a hundred yards away from the closest pizza place," says Harlin. "So we had to build some very, very large sets, and also use different techniques in creating the illusion that you are in the middle of Africa and not on the back lot of a studio. For scenes in the film that illustrate the back stories of the characters, we go to Holland during World War II and so we constructed buildings that made up part of the town where some very dramatic scenes take place."
Harlin turned to production designer Stefano Ortolani to bring the film's monumental environments to life. "I was looking for a very textured feeling in all the sets," says Harlin. "I wanted all everything to look very authentic, very worn out, to give the audience the experience that they are in this incredibly ancient place where it feels possible that anything can happen."
Ortolani and his team performed extensive research in preparation for constructing the film's ornate Byzantine church, as well as the menacing chamber below it. A large steel structure was built to support the church's dome roof, and platforms were built to accommodate the electricians and their lighting equipment. The church features elaborate mosaic tableaus illustrating legends of the war in heaven and Lucifer's fall from grace, which figure prominently in the story. "We did quite a bit of research when it came to the mosaics," says Ortolani. "It is not easy to make a mosaic - it's very time consuming, so we made a cast of an original plain Roman mosaic floor, from Villa Adriana in Tivoli near Rome, with no designs. Then we had a beautiful artist who came from England and painted our scenes on it, which are based on the Christian tradition and stories about Satanism."
An immense fiberglass canyon was constructed on the back lot of Cinecittá. With the help of computer imaging, it was able to serve as many different locations in the movie. The canyon measured 262 feet by 197 feet in size, and at its highest point reached 33 feet high. Throughout filming, the levels of the ground were changed to match the location of the scene, and in post production computer imaging was employed to enhance the appearance.
Harlin felt fortunate to have renowned Italian cinematographer Vittorio Storaro, four-time Oscar nominee and three-time winner for his work on Apocalypse Now, Reds and The Last Emperor, lending his distinct and masterful style to the film. "Having Vittorio was instrumental in our bringing something quite frightening, and quite beautiful, to the screen," Harlin compliments. "My main goal was to create a film that is very dark in its mood, and offers a lot of shadows and dark places in the basic frame where the audience's mind can wonder what is in that area that they don't see. Creating that dark feeling was very key for me in the film."
Storaro's use of light to convey mood and story in film is unparalleled, and his work on Exorcist: The Beginning is evocative and haunting. "Renny was looking for the best possible way to emotionally represent the moment of Merrin's introduction into this story," muses Storaro. "I tried to understand how through the light I could represent this conflict with himself. It's a kind of connection between reality and something that is above reality, something that is spiritual. That a moment when someone feels that he has no strength, no will to do something, and suddenly discovers a human emotion, a sentiment which can help us to re-start once again. Each one of us has inside himself this dark part that should be illuminated."
THE FACE OF EVIL
When The Exorcist hit theaters in 1973, the special effects that horrified audiences across the globe were unprecedented on the screen. In 2004, of course, spectacular effects are commonplace and moviegoers are accustomed to believing the unbelievable. But the filmmakers of Exorcist: The Beginning didn't want to simply inundate audiences with showy effects - instead, they intended to use effects as a tool to recapture the chilling mood of the original, rather than as an end unto themselves.
"I wanted to make a film that you would actually believe led into The Exorcist," says Harlin. "So it's not filled with fancy special effects and tricks of the trade of today. It's more of a primal horror film based on suspense and psychological terror, and our effects are more old-school in their approach than something you can obviously tell came from a computer."
"The Exorcist is required watching for effects guys," enthuses Exorcist: The Beginning makeup effects supervisor Gary Tunnicliffe, whose work has been seen in a host of terrifying films, including installments in the Hellraiser and Halloween series and Tim Burton's Sleepy Hollow. "It has stood the test of time so well because it hits you on both a cerebral and a physical level. There are horror films that just hit you in the gut, and there are horror films that hit you in the mind. The Exorcist has that two-punch."
Tunnicliffe's team was charged with designing make up effects and constructing many of the film's intricately detailed props, including puppets and religious idols, as well as giving life to a pack of menacing mechanical beasts. An intense preparation period of sculpting and fabrication, mold making and painting was required.
Perhaps the most important facet of the makeup design was deciding what physical form the film's demon possessions would take. "Renny felt very strongly that the look of the demon should harken back to Linda Blair," recalls Tunnicliffe. "It's the same demon who is possessing, so while we never know what this creature looks like in its natural state, once it manifests into a human being, there needs to be something about the makeup that you feel familiar with."
As part of his research, Tunnicliffe spoke to the original Exorcist makeup artist, Dick Smith. "I learned from talking to Dick that the look of the demon possession in The Exorcist was brought about by the fact that Linda Blair had such a round, apple-cheeked face. That's the biggest thing with this demon prosthetic. It's not a demon with big horns. It's not a Buffy the Vampire Slayer demon. So we altered the actor's cheekbones, made it very asymmetrical by making the chin slightly bigger in one area, and then added lacerations. I like the idea that a demon would slash at itself and hurt itself, to destroy the human vessel that it's in. We had contact lenses made that really popped the eyes and used black stain to make the teeth go gray. It was pretty disgusting looking."
In spite of the more than 30 years that passed between the two productions, the materials and processes employed by the makeup effects crew on Exorcist: The Beginning match those used by Dick Smith in the original film. "We used the traditional, tried and true foam latex appliances," reveals Tunnicliffe. "So it's exactly the same kind of makeup in its creation and build that Dick used, although I employed a slightly different paint and the contact lenses are more comfortable than the contact lenses would have been back then. But it's basically 1970s technology. And a lot of those techniques were created by Dick Smith. So if it looks good it's a tribute to him, really."
Interestingly, perhaps the most extraordinary effect Dick Smith conjured for The Exorcist was one that went virtually unnoticed. While the character of Merrin was in his 70s, Max von Sydow was only 44 years old at the time the film was shot. It took three to four hours in the makeup chair each day to turn Sydow into a 70 year old man.
Similarly, it took roughly four hours to apply all the prosthetics and body paint to a possession victim in order to achieve the full effect. All the appliances had to be glued directly to the skin using a liquid called Pros-Aid, a very strong water-based adhesive. Once an actor was in the makeup, that was it - they had to keep it on for the remainder of the shooting day, and at the end of the day it took an hour to remove. Prosthetic materials are fairly fragile, because they have to be soft and malleable in order to naturally and accurately translate the actor's expressions. Removing the appliances destroys them completely, so a brand new set of appliances had to be manufactured every day.
Tunnicliffe was gratified by the reactions to his work on the demon-possessed character makeup. "People tended to avoid you like the plague when you're in that stuff because it all looks pretty nasty. I think that if people have such a strong gut reaction to it face-to-face, then audiences will react to it on the screen."
One of the biggest undertakings Tunnicliffe and his team were faced with was the creation of the wild hyenas that play a big part in the film. (For both practical and safety purposes, the production's ability to employ real hyenas was limited.) "I'm very proud of the work we did on the hyenas," he says. "Obviously it's very difficult to get real hyenas to safely attack anybody," comments Tunnicliffe. "In fact, it's difficult to get hyenas to do absolutely anything apart from just lie there and sleep."
To solve this problem, the makeup effects team collaborated with the CGI department to construct the difficult sequences. Wide shots were filmed of actual hyenas, and close-up puppet hyenas were made, one with soft teeth that could safely bite into someone's arm, one with hard teeth that could rip flesh away, and finally, a fully mechanical hyena that could turn its head and snarl. These were fitted with tubes that pump blood out of the mouth.
The end product was almost too true to life, as Tunnicliffe's onset experiences reveal. "There were a couple of close-ups where I was wearing the mechanical hyena on one arm and ripping away at one of our fake latex arms. And I heard the script supervisor in the other room yell, 'Oh my God!' just as I took a big chunk out and blood sprayed everywhere. It's fun to suddenly fool reality."
The result of all the hard work is truly terrifying. "I try to use real life as a reference as much as possible," says Tunnicliffe. "Sometimes I think makeup effects artists get a bit too big in their designs and it loses the audience. Something as simple as someone stubbing their toe can be very painful because you've done it, whereas turning into a giant fly beast or something is a bit harder to imagine. If you root the effects in reality they tend to have more impact."
"I think people love to be scared in the movies," says Harlin, "because it's a very satisfying cathartic emotion to be able to sit in your seat, go through these horrific scenarios, and then the lights come up in the end and you walk out of the theater and your life is safe and good. I think this film will be that kind of an experience. If you really want to see a movie where you will have to grab that person who is next to you and your popcorn will go flying and hopefully you'll have to cover your eyes a few times as well, Exorcist: The Beginning is the film for you."
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ABOUT THE CAST
STELLAN SKARSGARD (Father Lankester Merrin) became a familiar figure to audiences around the world after playing opposite Emily Watson in Lars von Trier's Breaking the Waves, although American audiences may know him best for his roles in such films as Good Will Hunting (as Professor Lambeau), Steven Spielberg's Amistad and The Hunt for Red October (as Captain Tupolev).
As a native of Sweden, Skarsgard is considered one of the country's top stage and film actors. He began his career with the Royal Dramatic Theatre in Stockholm where he spent sixteen years working with such leading directors as Alf Sjoberg and Ingmar Bergman. His breakthrough role came in the 1982 Swedish film The Simpleminded Murderer, for which he received the Best Actor award at the Berlin Film Festival. He later received his second Best Actor award for his role as Swedish super-agent Carl Hamilton in Code Name Coq Rouge.
Since then Skarsgard has starred in such films as My Son the Fanatic, The Unbearable Lightness of Being, Ronin and Timecode as well as the original Insomnia. Skarsgard was most recently seen in City of Ghosts, starring Matt Dillon, James Caan and Gerard Depardieu; and starring in Dogville, which re-teamed him with director Lars von Trier in a film co-starring Nicole Kidman and Paul Bettany with Lauren Becall. He will next star in Jerry Bruckheimer's legendary King Arthur as "Cedric" for director Antoine Fuqua alongside Clive Owen and Keira Knightley.
JAMES D'ARCY (Father Francis) most recently starred as First Lt. Tom Pullings in the Oscar-nominated Master and Commander, opposite Russell Crowe for director Peter Weir. Prior to that, he starred as Nicholas Nickleby in the highly-acclaimed UK television production of The Life and Adventures of Nicholas Nickleby; the BBC production of The Ice House, which also ran in the United States on the PBS series Mystery!; the UK telefilm adaptation of Oscar Wilde's The Canterville Ghost; and Ruth Rendell's Bribery and Corruption. D'Arcy trained at the prestigious London Academy of Music and Dramatic Art (LAMDA) and currently lives in London.
IZABELLA SCORUPCO (Dr. Sarah Novack) made her feature film debut starring as the sexy Russian computer programmer Natalya Simonova in the James Bond film GoldenEye opposite Pierce Brosnan. Following that, Scorupco starred in Vertical Limit with Chris O'Donnell; and Reign of Fire, with Christian Bale and Matthew McConaughey. Scorupco was born in Poland and at an early age moved to Stockholm with her mother, where she enjoyed a successful acting, singing and modeling career.
Eight-year-old REMY SWEENEY (Joseph) makes his feature film debut in Exorcist: The Beginning. After enrolling in theatre school in 2003, Sweeney gained various television roles in his native UK, where he currently resides with his family.
Born 18th December 1995, in Watford, Herts, Sweeney spent his primary years idolizing the Spice Girls, which in turn gave him the inspiration to want to become an entertainer. He loved to sing and dance from a tender age. He had his first photo shoot at the age of three for an international magazine. However, it was his former teacher Sheila Berry who recognized his 'acting' ability when she cast him as the lead role for two consecutive school plays. He joined a theatre school in September 2003, and was cast in several television roles in quick succession. One being the role of 'Sam,' a young boy from an abusive home in Doctors. Various other roles followed before he was cast as 'Joseph' in Exorcist: The Beginning. He states that he likes to 'pretend' to be different characters, and enjoys acting because it is fun!
ABOUT THE FILMMAKERS
Over the past 15 years, RENNY HARLIN (Director) has established himself as one of Hollywood's most prominent filmmakers. His credits span multiple genres, and include both action-oriented international blockbusters and critically acclaimed dramas.
Harlin initially distinguished himself by directing A Nightmare on Elm Street IV, a film that, at the time of its release in 1988, became the highest grossing independent film of all time. He followed with the cult comedy The Adventures of Ford Fairlane and the box-office smash Die Hard 2: Die Harder starring Bruce Willis.
In 1993, Harlin directed and produced the blockbuster Cliffhanger, starring Sylvester Stallone, a film that helped establish Harlin as one of Hollywood's premiere action directors.
Harlin went on to direct and produce 1995's Cutthroat Island and 1997's critically acclaimed The Long Kiss Goodnight, which starred Geena Davis and Samuel L. Jackson.
In 1999, Harlin thrilled audiences with the summer hit that starred Samuel L. Jackson: Deep Blue Sea, a film that grossed over $160 million worldwide. Harlin followed up that success with Driven, an open wheel racing film featuring Sylvester Stallone, Burt Reynolds, and Estella Warren.
Harlin's career has also included successful efforts as a producer. In 1991, Harlin made his producing debut with the critically lauded Rambling Rose, starring Robert Duvall, Lukas Haas, Laura Dern and Diane Ladd, and earned Oscar nominations for Best Actress (Dern) and Best Supporting Actress (Ladd). Harlin has also produced the romantic comedies Speechless, which starred Geena Davis, Michael Keaton and Christopher Reeve; and Blast From the Past, which starred Alicia Silverstone, Brendan Fraser, Sissy Spacek, and Christopher Walken.
Most recently, Harlin completed production on the psychological thriller Mindhunters starring Val Kilmer, Christian Slater, LL Cool J and Kathryn Morris.
JAMES G. ROBINSON (Producer) is Chairman and CEO of three highly successful entertainment companies: Morgan Creek Productions, Morgan Creek International and the Morgan Creek Music Group. Under Robinson's leadership, Morgan Creek Productions, which was founded in early 1988, has become one of the leading independent production entities in the film business, having produced an assortment of highly successful and critically acclaimed features including the Young Guns and Major League franchises; the award-winning Enemies, A Love Story; the critically-acclaimed Pacific Heights; the blockbuster Robin Hood: Prince of Thieves; the explosive True Romance; the hit comedy Ace Ventura: Pet Detective and the smash sequel Ace Ventura: When Nature Calls.
As an agent and executive, GUY McELWAINE (Producer) has played a key role in such iconic films as E.T., The Extra Terrestrial, Close Encounters of the Third Kind, and the Alien film series, as well as The Towering Inferno and Basic Instinct. Early in his career, McElwaine spent a number of years running his own management and public relations company. He represented such widely diversified stars as Frank Sinatra, Judy Garland, The Righteous Brothers, The Mamas and the Papas and Warren Beatty.
In 1969, McElwaine was named Vice-Chairman of International Creative Management (ICM), and soon after took charge of the entire agency's motion picture activity, becoming president of its international sales division. He interrupted his tenure at ICM with an eighteen-month term as Senior Executive Vice President in charge of Worldwide Production for Warner Brothers Pictures, during which time the studio produced the film successes All the President's Men, Dog Day Afternoon, Oh God!, Barry Lyndon and One on One, among others.
Returning to ICM, McElwaine ran its motion picture division until 1981, when he left to become President of Columbia Pictures, later adding the title of Chairman and Chief Executive Officer. While at Columbia, McElwaine supervised the production and distribution of more than 60 films, including Ghostbusters, The Karate Kid, The Karate Kid II, and the Academy Award-winning Gandhi. Other successes at Columbia included White Nights, Jagged Edge, Stand By Me, St. Elmos Fire, Silverado, The Big Chill, Murphy's Romance, Starman, Richard Pryor Live on the Sunset Strip, Agnes of God, La Bamba, Blue Thunder and The Toy. Most recently, he served as an executive producer on the acclaimed 2002 USA Network Original Movie My Brother's Keeper.
In 1985, the Motion Picture Exhibitors Association named McElwaine "Motion Picture Executive of the Year." He is a supporter of The Mother's Touch (a program for abandoned and abused children), The Juvenile Diabetes Foundation, The California Foster Parent Program, and Variety Clubs International. In 1986, the Variety Clubs honored McElwaine with their annual Big Heart Award for his service to the community.
DAVID C. ROBINSON (Executive Producer) currently serves as Vice President of Morgan Creek Productions after associate producing two of their films: Chill Factor, starring Cuba Gooding Jr. and Skeet Ulrich; and The In Crowd, starring Susan Ward and Lori Heuring. Following that, Robinson co-produced American Outlaws, starring Colin Farrell and Scott Cann; Juwanna Mann, starring Miguel A. Nunez, Jr., and Vivica A. Fox; and I'll Be There, starring Craig Ferguson and Charlotte Church.
For the past twenty years, WILLIAM WISHER (Story By) has enjoyed a prolific screenwriting career. A native of Los Angeles, his first major credit was James Cameron's 1991 hit Terminator 2: Judgment Day, the sequel to the Arnold Schwarzenegger blockbuster The Terminator, on which Wisher also worked and received an additional dialogue credit.
Wisher first collaborated with director Cameron on a short film called Xenogenesis. In 1989 he earned his first writer's credit on the NBC telefilm Desperado. Subsequently, he served as an uncredited writer on such films as Die Hard With a Vengeance, Broken Arrow, and Eraser. Wisher's other credits include writing the screenplays for Judge Dredd, starring Sylvester Stallone and The 13th Warrior, starring Antonio Banderas for director John McTiernan.
CALEB CARR (Story By) was born in Manhattan and grew up on the Lower East Side. He attended Kenyon College and New York University. In addition to fiction, Carr writes frequently on military and political affairs. His previous books include The Alienist, The Angel of Darkness, The Devil Soldier, and The Lessons of Terror. He has also worked in television, film, and the theater.
ALEXI HAWLEY (Screenplay By) was born and raised in New York City. In addition to Exorcist: The Beginning, he recently sold his original script, Chasing Shadows, to Ascendant Pictures, where it is scheduled to go into production this fall.
His other credits include Nightbird, based on a Stan Lee character, for MGM, as well as adaptations of The Program for Intermedia Films and The Greatest Player That Never Lived for Miramax Films.
Hawley currently lives in Los Angeles with his wife and two children.
VITTORIO STORARO (Cinematographer) manned the cameras for his first film, L'Uccello dalle piume di cristallo, in 1969. He then went on to enjoy what has been a prolific and respected career, often working with the finest in the business. Among the many directors who have benefited from the know-how of Storaro and his faithful Italian camera crew have been Michael Apted (Agatha), Richard Donner (Ladyhawke), and especially Bernardo Bertolucci (Last Tango in Paris, 1900, The Sheltering Sky). Storaro won an Oscar for his photography on Bertolucci's The Last Emperor, and additional Oscars for his work on the films of two other frequent collaborators, Warren Beatty (Reds) and Francis Ford Coppola (Apocalypse Now). Coppola was, in fact, such an admirer of Storaro's work that he signed Storaro for Apocalypse Now before he'd even cast the film.
The cinematographer again collaborated with Bertolucci for Little Buddha. Two years later, Storaro worked on Beatty's Bulworth, and also lent his talent to Carlos Saura's Tango, for which he won a Jury Technical Prize at the Cannes Film Festival.
MARK GOLDBLATT (Editor) is one of the busiest editors in Hollywood, having close to thirty major motion pictures under his belt in his 26 years in the business. His feature editing credits include Terminator, Terminator 2 and True Lies, for director James Cameron and starring Arnold Schwarzenegger; Pearl Harbor, Armageddon and Bad Boys 2 for director Michael Bay and producer Jerry Bruckheimer, Starship Troopers, for director Paul Verhoeven; and The Last Boy Scout, for director Tony Scott and starring Bruce Willis.
TREVOR RABIN (Composer) has secured his position in the first rank of popular film composers, demonstrating an unsurpassed ability to involve the audience in the films he scores. Recent blockbusters include Armageddon, Enemy of the State, Deep Blue Sea, Gone in 60 Seconds and Remember the Titans.
Rabin is part of a new group of film composers who hail from the world of rock music. A member of the rock group YES since 1983, Rabin played guitar for the group and wrote most of the material on the group's best-selling album 90125, including the number one single "Owner of a Lonely Heart." He also penned the majority of the songs and served as co-producer on YES's next album, Big Generator, which sold over 2 million copies worldwide. Rabin also wrote or co-wrote all the songs, played every instrument but drums, produced, and engineered almost all of his solo work.
Rabin was born in Johannesburg, South Africa, where he studied classical piano and was trained as a conductor and arranger. His first professional band performed original anti-apartheid songs and his family was heavily involved in anti-apartheid activities - Sidney Kentridge, his father's first cousin, is the lawyer who pressed charges against the South African government on behalf of Steven Biko's family after his death. Rabin later founded a band called Rabbit, which became the most popular South African rock band in history, rivaling the Beatles in the scale of their local popularity.
Rabin has shown his skill in scoring for comedy with soundtracks to Kangaroo Jack and The Banger Sisters. He created a spectacularly epic score for Bruckheimer's Armageddon and provided an intricate, unnerving electronic score for the techno-thriller Enemy of the State. At the opposite end of the spectrum was a lyrical orchestral score for the Michael Keaton family film Jack Frost. For the documentary Whispers, he returned to his roots, drawing on traditional African instrumentation, rhythms, and vocal performances. Rabin's fans enjoyed the excitement of Bad Boys 2, and are awaiting the release of his next film, the war epic Ghost Soldiers, starring Benjamin Bratt.
In addition to designing for the world of film, LUKE REICHLE (Costume Designer) has also successfully made his mark in the worlds of television and theater. Trained at the Pacific Fashion Institute, his tenure on Seventh Avenue included designing for the Houses of Perry Ellis, Calvin Klein and Alexander Julian, and in Europe was Design Director for BBDG. Upon moving to Hollywood, Reichle was taken under the wing by director Michael Ritchie, for whom he has designed several projects including Diggstown, The Scout, A Simple Wish, The Michael Richards Project, and HBO's The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom. They also worked together on the film adaptation of the long-running stage musical The Fantasticks, which was just released this past fall. Reichle's other credits include Lord of Illusions, Down Periscope, The Glimmer Man, Shadow Hours, Cowboys and Angels, and HBO's Soul of the Game. In Los Angeles, Reichle has also designed for a variety of theatrical productions including Marvin's Room with Mary Steenburgen and Jean Smart, Mobil Hymn and Control Freaks starring Holly Hunter, Bill Pullman and Carol Cain.
In 1990, GARY TUNNICLIFFE (Special Makeup Effects Supervisor) began what would turn out to be a 3 year tenure at the Bob Keen's Image Animation Company (Home of the Hellraiser FX) at the famed Pinewood Studios in the Autumn of 1990. His film work during that period included Waxwork 2, American Cyborg, Warlock: Armageddon, Cyborg Cop, Hellraiser 3, Children of the Corn 2 and Candyman.
In 1993, Tunnicliffe partnered with Keen to open a shop in Los Angeles under the Image Animation banner. Over the next three years Tunnicliffe found himself sculpting, molding, painting and creating mechanisms for a host of shows that included Hellraiser: Bloodline, Sleepstalker, Last Gasp, Halloween: The Curse of Michael Myers, Invasion of Privacy, Menno's Mind, Amanda & the Alien and Children of the Corn 4, to name but a few.
In 1995 Tunnicliffe directed his first film, Within The Rock, which premiered a year later on the Sci Fi channel to good reviews and a Saturn Award nomination.
Tunnicliffe went on to FX work on Blade, Twin Falls Idaho and Candyman 3. Then in 1998, FX Maestro Kevin Yagher approached Tunnicliffe about supervising the FX crew on Tim Burton's Sleepy Hollow. In 1999, Hellraiser: Inferno would bring Tunnicliffe back to Dimension (Miramax's Genre Division) and to Neo Art and Logic. Over the next three years, he worked on Mimic 2, Dracula 2000, Halloween: Resurrection, Hellraiser: Hellseeker, Dracula: Ascension, Dracula: Legacy, Mimic: Sentinel, Hellraiser: Deader and Prophecy: Revelation.
Tunnicliffe also co-wrote and directed the 'family film' (of all things) 'Hansel and Gretel. The last three years has seen Gary stretch his talents from mere make-up effects to prop creation, miniatures, VFX supervision, 2nd unit direction and acting, etc.
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