William Peter Blatty remains a towering figure in modern literature and cinema, primarily celebrated as the author of The Exorcist and the screenwriter behind the iconic 1973 film adaptation, a role for which he earned an Academy Award for Best Adapted Screenplay. Beyond this monumental work, Blatty’s oeuvre includes compelling novels such as The Ninth Configuration, Legion, and Demons Five, Exorcists Nothing. He further showcased his directorial talent by bringing Legion (also known as Exorcist III) and The Ninth Configuration to the silver screen.
This insightful interview with William Peter Blatty was conducted around the release of his short novel, Elsewhere, featured in the 999 anthology, offering a unique glimpse into his creative process and perspectives.
How Did You Get Involved with the 999 Anthology?
Reflecting on his participation in the 999 anthology, William Peter Blatty recalled a straightforward invitation. He mentioned receiving correspondence from Al Sarrantonio, the anthology’s editor, who was actively seeking contributions and inquired if Blatty had any suitable works “in his trunk,” a writer’s idiom for unpublished or completed but unreleased material. As it happened, Blatty had recently finished Elsewhere. Initially conceived as a full-length novel, Elsewhere organically took shape as a shorter narrative, concluding at approximately 100 pages. Blatty felt that expanding it to novel length would compromise the story’s pacing and the eventual impact of its resolution. Therefore, Sarrantonio’s letter arrived at an opportune moment, presenting a seemingly serendipitous avenue for Elsewhere to find its audience.
The Voice of Joan Freeboard: Echoes of Childhood?
In Elsewhere, there is a striking description of the main character, Joan Freeboard’s voice, characterized by evocative imagery: “…in her accent one heard organ grinders strolling through the tenements, the flapping of a wash hung out to dry upon a roof.” This passage resonates with the poignant descriptions of your mother found in I’ll Tell Them I Remember You. Was Joan Freeboard in any way inspired by your mother?
Blatty clarified that the character of Joan Freeboard was not directly inspired by his mother but rather by the essence of his childhood. He once famously described his upbringing as “comfortably destitute,” a phrase that encapsulates the complexities of his early life. In crafting Joan Freeboard, Blatty aimed to quickly convey to the reader that her intense willpower and relentless pursuit of wealth and material possessions were deeply rooted in the experiences of an impoverished childhood. This background serves as a crucial foundation for understanding her motivations and actions throughout Elsewhere.
The Exorcist, The Ninth Configuration, and Legion: An Unofficial Trilogy?
It has often been observed that The Exorcist, The Ninth Configuration, and Legion appear to form an “unofficial” trilogy. The Ninth Configuration seems to act as a thematic bridge, connecting the overt horror of The Exorcist with the deeply internal struggles of Lieutenant Kinderman in Legion. Do you perceive these three novels as a trilogy? If so, what connects them, and if not, why not?
William Peter Blatty affirmed that he indeed views The Exorcist, The Ninth Configuration, and Legion as forming a trilogy, at least within his own conceptualization of his work. He explained that these three novels, when considered collectively, grapple with the enduring existential questions that philosopher and filmmaker Woody Allen often explores in his films: the fundamental inquiries of human existence. These questions revolve around our purpose, our intended actions, the inevitability of death, and the overarching question of God’s existence.
The Exorcist, in Blatty’s view, directly confronts the last question – the existence of God – which he considers central to all other existential inquiries. It seeks to validate the reality of demonic entities and the efficacy of religious faith in combating them. The Ninth Configuration approaches these profound themes through what Blatty terms “the mystery of goodness.” It questions how, if humans are merely material beings, devoid of spirit and composed of soulless atomic structures, the capacity for selfless love and sacrifice arises. He posits that if we are simply driven by selfish desires, how can acts of profound love and self-sacrifice, even to the point of giving one’s life for another, exist? The narrative of astronaut Cutshaw’s quest for undeniable proof of such pure altruism forms the core of The Ninth Configuration’s plot.
Finally, Legion directly engages with Ivan Karamazov’s profound philosophical challenge to religious faith: the problem of evil, particularly the suffering of innocents. This complex issue is confronted head-on by the character of Lieutenant Kinderman, who grapples with the apparent contradiction between a benevolent God and the existence of inexplicable suffering in the world.
The Significance of the Letter “K”: Karras, Kane, and Kinderman
Is there any particular reason or significance behind the fact that the main characters in The Exorcist, The Ninth Configuration, and Legion — Father Damien Karras, Colonel Vincent Kane, and Lieutenant William Kinderman — all have last names beginning with the letter “K”?
Blatty responded that there was no deliberate or significant reason behind the shared initial letter “K” in the last names of Karras, Kane, and Kinderman. He admitted it was a bemusing coincidence, especially considering that in Legion, all of Patient X’s victims also had names starting with “K.” However, he did reveal his etymological thought process behind each name choice. “Karras” was chosen because it echoed “caritas,” the Latin word for charity or love. “Kinderman” was selected to reflect the character’s inherent kindness. And “Kane” was chosen for the hard “C” sound reminiscent of Cain, the biblical figure of the primal murderer, hinting at the complexities and potential for darkness within Colonel Kane.
Lee J. Cobb vs. George C. Scott: Who Embodied Kinderman Best?
Both Lee J. Cobb and George C. Scott delivered, in your opinion, exceptionally fine performances as Lieutenant Kinderman. Do you have a personal preference between their interpretations? Which actor came closest to embodying the Kinderman you envisioned?
When asked to compare the performances of Lee J. Cobb and George C. Scott as Lieutenant Kinderman, William Peter Blatty expressed admiration for both actors, acknowledging their superb portrayals of the character. Rather than choosing a definitive favorite, he mused that an ideal interpretation might be a fusion of their distinct styles. He appreciated the unique qualities each actor brought to the role, suggesting that a combination of their strengths would perhaps best capture the multifaceted nature of Kinderman as he envisioned him.
The Original Ending of Exorcist III and the “Hurrah for Karamozov” Coda
You’ve mentioned in past interviews the studio pressure to alter the ending of Exorcist III to include more overt horror elements. Your original ending — Kinderman shooting Karass, followed by a shot of a bird flying across the setting sun — is remarkably different. The incredibly moving “Hurrah for Karamozov” coda from Legion seems tonally consistent with your original film ending but was never considered for the film. Why did you choose not to use it?
Blatty explained that the coda in the novel Legion, culminating in the “Hurrah for Karamazov” sentiment, served a crucial thematic purpose within the book’s narrative structure. It was essential to provide closure and underscore the central theme of the novel: Kinderman’s role in reaffirming the inherent goodness in humanity through his theory of “The Angel.” This theory posits a premundane fall of mankind, where humanity existed as a unified angelic being before the Big Bang. This being fell from grace and was subsequently transformed into the material universe as a path to salvation. The legion of fragmented human personalities would then spiritually evolve, echoing the opening lines of The Exorcist (“that matter was Lucifer upward groping back to his God”), eventually reuniting into the original singular angelic being.
However, Blatty felt that this coda, while thematically resonant in the novel, was not organically suited for the film adaptation of Legion, Exorcist III. He humorously quoted a line from A Man for All Seasons – “I trust I make myself obscure” – to acknowledge the complexity of his theological explanations. Practically speaking, within the film’s narrative, the ending he envisioned, where Kinderman shoots Patient X (revealed to be Karass), needed to conclude there. Introducing a coda would necessitate a shift in tone and require addressing the immediate aftermath, such as investigations and potential legal proceedings. Therefore, for cinematic pacing and narrative coherence, the film had to conclude at the moment of confrontation and resolution.
Will Elsewhere Be Your Next Film Project?
Considering your hope to direct again, will Elsewhere be your next film project as writer-director?
With evident enthusiasm, William Peter Blatty expressed his strong desire for Elsewhere to be his next directorial project. He conveyed a clear aspiration to bring this short novel to the screen as a writer-director, indicating a personal connection to the material and a vision for its cinematic adaptation.
Production Plans for Elsewhere
Can you share any details about the potential production of Elsewhere, such as casting or a possible release date?
Despite his eagerness to film Elsewhere, Blatty acknowledged that, at the time of the interview, concrete production plans were not yet in place. He confirmed that he had a script prepared and had envisioned a cast for the project. However, the production was in the crucial phase of securing financing. This stage of filmmaking often presents significant hurdles, and the future of the Elsewhere film adaptation remained contingent on successfully navigating these financial challenges.
Comedy Roots and Humor in Horror
Many people are unaware of your beginnings as a comedy writer, with credits like A Shot in the Dark, The Great Bank Robbery, John Goldfarb, Please Come Home!, and Which Way to Mecca, Jack?. Your more recent work, such as Demons Five, Exorcists Nothing, and now Elsewhere, seems to incorporate more of your literate yet caustic humor into your horror narratives, evident even in the first act of Exorcist III. Is this a direction you see your future work pursuing? And why do you think readers and filmgoers are sometimes hesitant to accept humor within “serious” horror?
Blatty reflected on his comedic origins and the increasing presence of humor in his later, darker works. He affirmed that his roots are indeed in comedy, and he believes that even in his more serious narratives, humor serves to enhance credibility and create a sense of real life. He articulated a desire to explore a warmer, funnier story, mentioning a “life after death” themed project with a Catcher in the Rye-esque tone, tentatively titled Doc Savage Never Died. However, he also noted that his long-term project, Dimiter, a theological thriller, needed to be completed first.
He lamented the industry’s perception, wryly observing that “nobody wants me to write comedy” anymore. The Exorcist, despite its critical and commercial success, had inadvertently overshadowed his comedic background, effectively erasing the memory of his earlier career in that genre. Regarding the audience’s potential resistance to humor in horror, Blatty didn’t speculate extensively but implied that perhaps genre expectations and audience conditioning play a role in this hesitancy.
Visual Style and Influences: Robert Wise and The Haunting
One distinctive aspect of your directorial style is the way you situate scenes within settings that feel like organic extensions of the characters’ emotional states, such as the wonderfully eerie castle in The Ninth Configuration. Was this style, which is quite unique in American films, influenced by directors like Robert Wise, particularly his work in The Haunting? Which directors have influenced you as a filmmaker?
Blatty considered his visual directorial style and the potential influences on it. He stated that he wasn’t consciously aware of being influenced by any particular director, acknowledging that influences can often be subconscious. He did, however, express immense admiration for Robert Wise’s The Haunting. Upon reflection, he recalled a specific detail from The Haunting – Wise’s static, low-angle shots of the empty staircase at night – and how those shots deeply affected him, creating a sense of unease and dread. He acknowledged that this might have subconsciously inspired his own technique of establishing atmosphere by using quick montages or mosaics of individual features to introduce new locations. He confirmed that the static staircase shot in The Haunting could very well have been an unconscious inspiration for his approach.
Comparisons to The Haunting of Hill House and Shirley Jackson
Inevitably, comparisons between Elsewhere and Shirley Jackson’s The Haunting of Hill House are likely to arise. Did Shirley Jackson’s novel influence you as a young writer, and is Elsewhere perhaps a nod to that influence?
Blatty addressed the anticipated comparisons between Elsewhere and Shirley Jackson’s The Haunting of Hill House. He revealed that he didn’t actually read The Haunting of Hill House until the early 1990s. He recounted being approached by Columbia Pictures about potentially remaking Robert Wise’s The Haunting, with the goal of creating an even more intense and unprecedented audience experience. It was during this period that he first read Jackson’s novel and recognized it as a classic of psychological suspense, deserving of reverence in any adaptation. Although his collaboration with Columbia Pictures didn’t materialize, the idea of creating a truly unique and intense “ride” based on The Haunting remained with him. Years later, this concept evolved into Elsewhere, which he acknowledges contains a clear homage to Shirley Jackson’s masterpiece, though it is ultimately a distinct and original work.
Literary Inspirations: From Greene to Perelman
Who were your other literary inspirations when you were starting out as a writer?
When asked about his early literary inspirations, William Peter Blatty cited a diverse range of authors who shaped his development as a writer. His favorite authors included Graham Greene, known for his complex moral dramas; Fyodor Dostoevsky, the master of psychological depth and philosophical exploration; Robert Nathan, celebrated for his whimsical and gentle fantasies; and Ray Bradbury, the poetic visionary of science fiction and fantasy. He also mentioned S.J. Perelman as an early hero, highlighting his sharp wit and comedic prose. Blatty humorously noted the apparent lack of “scary” influences in this list, underscoring the breadth of his literary tastes beyond the horror genre.
Views on Horror and Genre Classification
Which horror writers have you read, and how do you see The Exorcist in relation to the horror genre?
In a revealing statement about his relationship with the horror genre, Blatty declared, “I have never read horror, nor do I consider The Exorcist to be such.” He instead categorized The Exorcist as a “suspenseful supernatural detective story” or a “paranormal police procedural,” highlighting its investigative and suspenseful elements rather than purely horrific ones. He recounted reading ghost stories extensively as a boy, alongside the comedic works of P.G. Wodehouse, describing this as a “balance of opposites” that has persisted in his own work. He reiterated that horror as a genre does not personally interest him, and consequently, he possesses limited knowledge of its practitioners, both past and present.
Work Style and Writing Habits
What is your work style? Do you have routines you need to follow before writing? Are you a binge writer, or do you adhere to a schedule? What tools do you use to write?
Blatty described his past writing habits as characterized by alternating periods of inactivity and intense, focused work. In his more prolific periods, he would engage in relentless writing sessions, typically starting late at night, around ten or eleven, and continuing until dawn, day after day, without breaks, until the project was completed. He acknowledged that this demanding routine, along with the heavy consumption of cigarettes and coffee that fueled it, was a thing of the past. His current writing schedule is more structured, typically working from early morning until mid-afternoon, followed by everyday tasks. He also mentioned his transition to using a computer, specifically a Mac, which he found to be “tremendously liberating” for his writing process.
Personal Experiences with EVP and Spiritual Views
Given your personal experimentation with recording disembodied voices (Electronic Voice Phenomena, EVP), presumably during your research for Legion, how has this affected your personal outlook and spiritual views? Do you ever feel unnerved knowing that ghosts might be around, and that you might never be truly alone?
Addressing his experiences with Electronic Voice Phenomena (EVP) during his research for Legion, Blatty shared that it profoundly impacted his spiritual perspective. He stated, “At the risk of sounding like a man who should be put away in a nice quiet place where no sharp instruments are to be found, let me assure you that I have become so confident of the existence of a spirit plane that coexists right beside ours — an Elsewhere if you will — that I rarely ever think about it any more. It’s just part of ordinary reality.” He expressed a firm conviction in the reality of a spirit plane, so much so that it had become an ordinary aspect of his worldview. He playfully added, “And, no, none of us is ever truly alone. This can be harder on the ghosts than on us.” He recounted a specific anecdote from his EVP recordings at his home in Greenwich, Connecticut, where a female voice audibly stated on tape playback, “This is boring, I’m going over to Paul Newman’s,” referencing the nearby residence of the famous actor Paul Newman in Westport.
Inspiration Sources: Invisible Parrots and Esoteric Influences
Do you, like the screenwriter character in Demons Five, Exorcists Nothing, get most of your ideas and inspiration from a giant invisible parrot, or do you rely on more conventional sources like imagination and hard work?
In a lighthearted concluding remark, William Peter Blatty responded to the question about his sources of inspiration with a touch of self-deprecating humor. Referencing his previous answer regarding his belief in a spirit plane and EVP, he quipped, “Based on my answer to your previous question, you may fairly conclude that it’s probably a giant invisible parrot.” This playful response leaves the question of his true inspiration delightfully ambiguous, suggesting a blend of both the mundane and the mysterious in his creative process.
Final Thoughts
Any other thoughts on any other topics you would like to share with readers?
William Peter Blatty concluded the interview with a simple and gracious remark: “No. Only that it’s pleasant to have had this time with you.” This understated closing conveyed his appreciation for the thoughtful and engaging conversation.
