"Well, I told you already I was arrogant
... I was called into a meeting with the heads of Paramount and with the heads of Universal, a guy named
Sid Sheinberg and
Barry Diller. And they asked me to come to meet with them; they wanted to give me some notes; they wanted to help the director. And so I thought what the hell could these guys tell me? So I said,
if you’re going to give me notes, I want to bring my writer and my film editor into this meeting. And they didn’t like that because they didn’t like dealing with the guys who really made the film. They wanted to deal with ‘above the title’ guys. I said
no, I wanna have my writer and editor; both editors there, the editor and his assistant. And they reluctantly agreed.
So then I told
Buck Smith, the editor, and
Wally Green, and the assistant editor,
Ed Humphreys,
I’m going to take you into this meeting, into the private dining room at Universal, and they’re going to give notes. And he’s what I want you guys to do… Don’t shave the night before. Wear your shirt buttoned incorrectly, wear mismatched socks, walk in with your shoes untied and then when you sit down, don’t react to anything I say or do. No reaction, and when they’re talking, just stare at them, like this- Don’t nod your head, when they’re making these suggestions, don’t go ya, or take notes or anything, just stare at them as though they are from Mars or something. And that’s what we did.
The lunch order comes around, waiters in black tie and stuff, and everyone ordered an iced tea to start with, and I ordered a bottle of Smirnoff. And they started in with their notes, and they were surprised because I told the waiter, I don’t want a glass. So while they’re sipping their iced teas, and getting together their notes, I opened the bottle and I started to drink from the bottle. And they didn’t say anything, they just started giving us notes. We just stared at them. And then about 10 or 15 minutes into this, I fell out of my chair and fell on the floor. I wasn’t drunk, I had a high tolerance for alcohol, I just fell on the floor, and they didn’t say anything. After a few more minutes, they turned to Wally Green, and said, “
Does this happen often?” And he said “
Everyday.”
The notes went by, the meeting was over, I had my guys carry me out of there and then I thought about- I said to them,
look, I don’t shoot inserts, I’m not going to make inserts of the odometers- well, unless, I said to Mr. Diller,
you want to send me back to Mexico to shoot some inserts of the truck. He said
No, no, no- never mind, it’s ok. But then I thought they were right, and I actually shot the inserts
. We shot the inserts on the back lot of Universal.
That was my reaction to my notes. No quarter given. Remember, in order to succeed in those days, you had to make the heads of the studios, in order to let you alone, you had to make them think you were psychologically unsettling. You had to make them believe you would of anything. So they basically didn’t bother with me, because I did that on
The Exorcist, you know, they thought I was so nuts, that they just let me alone. They figured, if there was a problem, and I imploded, the film would implode too. So that was a strategy I had active in those days."
William Friedkin on the making of The Sorcerer (1977) at BAM, 2 May 2020, See the entire Q&A here.
Japanese One Sheet
