'The Exorcist's Iconic Theme Wasn’t Even Supposed To Be in the Movie

The Big Picture “Something beyond comprehension is happening to a little girl on this street, in this house. A man has been sent for, as a last resort to try and save her.” A deep voice delivers this narration, heard over the theatrical trailer for The Exorcist right as frightening black-and-white images flash on the screen for a strobe effect. It’s jarring, gearing up audiences to what to expect from the movie itself.

Director William Friedkin’s Difficult Search for the Right Music A subtle use of “Tubular Bells” and the rest of the soundtrack was the goal. He had plenty of composers to choose from. Bernard Hermann wasn’t picked, as the composer’s style didn’t fit what the director wanted. Hermann talked about Friedkin in a 1975 interview: “I was going to use an organ, and he said, ‘I don’t want any Catholic music in my picture.

In a Vice interview, Friedkin gave his side over what happened, “I had commissioned Lalo Schifrin to write a score, and I didn't like the score. I felt the need for something that was akin to Brahams' ‘Lullaby’ — a kind of childhood feel.” Unhappy with the process, Friedkin went to the head of Warner Brothers, attempting to describe what he wanted, which wasn’t understood, but the director was given access to the music library.

The long lines of people waiting to see the movie would witness Georgetown besieged by a demonic entity, as well as be forever haunted by Oldfield’s music. It boosted the musician’s popularity immensely, helping the growth of Virgin Records that put out the album too. Despite all of this success, Oldfield had never thought to create “Tubular Bells” to be a horror score. In a 2011 interview, Oldfield said, “It wasn't made that way, although I was pretty paranoid at the time.

Source: Entertainment Trends (entertainmenttrends.net)

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