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William Friedkin: Films of Aberration, Obsession and Reality
This study of Friedkin's films, which is based on nearly 100 interviews with the director and his colleagues, pays particular attention to the evolution of his cinematic style and choice of subject material. New to the second edition, in addition to many small changes and updates of the book's existing material, are three chapters covering the last five years of Friedkin's work - which includes the much-publicized re-release of his director's cut of The Exorcist.
- GenresFilm
302 pages, Hardcover
First published December 1, 1990
37 people want to read
About the author
Thomas D. Clagett
6 books13 followersThomas D. Clagett has always had a passion for the West, for films and for writing. His historical novel, "West of Penance," was awarded the first place gold medallion for best Inspirational Fiction from the Will Rogers Medallion Award judges. It also won won the New Mexico-Arizona Book Award in 2016 for Best Historical Fiction. Clagett's first novel, "The Pursuit of Murieta," won a Will Rogers Medallion Award for Honorable Mention.
After graduating from the University of Southern California where he earned a degree in Journalism, Clagett spent nearly twenty years working as an assistant film editor in Hollywood on such projects as Jack Nicholson's "The Two Jakes" and the NBC mini-series "Blind Faith," he still found the opportunity to write. His first book, "William Friedkin: Films of Aberration, Obsession and Reality," was updated in 2003. "Classic Images" praised this study of the films of the the Academy Award-winning director of "The French Connection" and the horror masterpiece "The Exorcist" as "the definitive work on the subject."
Devoting himself to writing full time, Clagett turned to his love of the West. His first novel, "The Pursuit of Murieta," tells the story of Joaquin Murieta, California's first notorious outlaw back in 1853. Booklist wrote, "Readers will side with Murieta in this well told, disquieting story." His second novel, "West of Penance," was inspired by a true story about the wilds of New Mexico and the Colfax County War in 1875. The Historical Novel Society called it "an entertaining read...be prepared for a surprise ending." Clagett is a member of the Western Writers of America. He lives near Santa Fe, New Mexico, with his wife, Marilyn.
After graduating from the University of Southern California where he earned a degree in Journalism, Clagett spent nearly twenty years working as an assistant film editor in Hollywood on such projects as Jack Nicholson's "The Two Jakes" and the NBC mini-series "Blind Faith," he still found the opportunity to write. His first book, "William Friedkin: Films of Aberration, Obsession and Reality," was updated in 2003. "Classic Images" praised this study of the films of the the Academy Award-winning director of "The French Connection" and the horror masterpiece "The Exorcist" as "the definitive work on the subject."
Devoting himself to writing full time, Clagett turned to his love of the West. His first novel, "The Pursuit of Murieta," tells the story of Joaquin Murieta, California's first notorious outlaw back in 1853. Booklist wrote, "Readers will side with Murieta in this well told, disquieting story." His second novel, "West of Penance," was inspired by a true story about the wilds of New Mexico and the Colfax County War in 1875. The Historical Novel Society called it "an entertaining read...be prepared for a surprise ending." Clagett is a member of the Western Writers of America. He lives near Santa Fe, New Mexico, with his wife, Marilyn.
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Displaying 1 - 4 of 4 reviews
June 1, 2025
A Hollywood Masterpiece!
While I am not an authority on Hollywood and the movies, I have read a variety of books on the topic over the years. Thomas D. Clagett's William Friedkin: Films of Aberration, Obsession and Reality stands as one of the best with its insights not only into the complex mind of one of American cinema's most provocative and uncompromising directors but also into the workings and subtleties of filmmaking.
In this meticulously researched and engagingly written volume, Clagett delves deep into Friedkin's filmography, offering readers an insightful analysis of the director's unique vision and the recurring themes that permeate his work. Clagett’s reportage and his analysis are exceptional and provide deep insight into the Hollywood mindset and the many factors that influence the production and success or failures of movies.
Clagett's study is grounded in nearly 100 interviews with Friedkin and his collaborators, providing firsthand accounts that enrich the narrative. This approach provides intimate insights into Friedkin's creative process, his relentless pursuit of realism, and the often tumultuous production environments of his films. For instance, the book recounts how, during the filming of The French Connection, Friedkin orchestrated a massive traffic jam on the Brooklyn Bridge without official permission to capture the desired scene, showcasing his audacious commitment to authenticity.
Clagett's analysis extends beyond production anecdotes, delving into the thematic and stylistic elements that define Friedkin's oeuvre. He examines the director's early work in documentaries, such as The People vs. Paul Crump, highlighting how these projects laid the foundation for Friedkin's later narrative films. The book also explores Friedkin's fascination with moral ambiguity, existential dread, and the human capacity for violence, themes that recur in films like The Exorcist, Sorcerer, and To Live and Die in L.A.
One of the book's strengths lies in its balanced portrayal of Friedkin's career, acknowledging both his critical triumphs and his more controversial and less successful projects. Clagett does not shy away from discussing the polarizing reception of films like Cruising and Deal of the Century, providing context and analysis that help readers understand the complexities of these works. This comprehensive approach ensures that the book serves as both a celebration of Friedkin's achievements and a critical examination of his missteps.
The updated third edition of the book includes chapters on Friedkin's later works, such as Bug, Killer Joe, and his final film, The Caine Mutiny Court-Martial, offering a complete overview of the director's evolving style and thematic concerns. Clagett's writing is both scholarly and accessible, making the book suitable for film students, scholars, and casual enthusiasts alike.
In conclusion, the book is an indispensable resource for anyone interested in the life and work of William Friedkin and the workings of Hollywood. Clagett's thorough research, insightful analysis, and engaging prose combine to create a compelling portrait of a director whose films continue to challenge and captivate audiences. I rank William Friedkin: Films of Aberration, Obsession and Reality as an essential Hollywood read in the same league as Picture by Lillian Ross (1952) and Adventures in the Screen Trade by William Goldman (1983).
While I am not an authority on Hollywood and the movies, I have read a variety of books on the topic over the years. Thomas D. Clagett's William Friedkin: Films of Aberration, Obsession and Reality stands as one of the best with its insights not only into the complex mind of one of American cinema's most provocative and uncompromising directors but also into the workings and subtleties of filmmaking.
In this meticulously researched and engagingly written volume, Clagett delves deep into Friedkin's filmography, offering readers an insightful analysis of the director's unique vision and the recurring themes that permeate his work. Clagett’s reportage and his analysis are exceptional and provide deep insight into the Hollywood mindset and the many factors that influence the production and success or failures of movies.
Clagett's study is grounded in nearly 100 interviews with Friedkin and his collaborators, providing firsthand accounts that enrich the narrative. This approach provides intimate insights into Friedkin's creative process, his relentless pursuit of realism, and the often tumultuous production environments of his films. For instance, the book recounts how, during the filming of The French Connection, Friedkin orchestrated a massive traffic jam on the Brooklyn Bridge without official permission to capture the desired scene, showcasing his audacious commitment to authenticity.
Clagett's analysis extends beyond production anecdotes, delving into the thematic and stylistic elements that define Friedkin's oeuvre. He examines the director's early work in documentaries, such as The People vs. Paul Crump, highlighting how these projects laid the foundation for Friedkin's later narrative films. The book also explores Friedkin's fascination with moral ambiguity, existential dread, and the human capacity for violence, themes that recur in films like The Exorcist, Sorcerer, and To Live and Die in L.A.
One of the book's strengths lies in its balanced portrayal of Friedkin's career, acknowledging both his critical triumphs and his more controversial and less successful projects. Clagett does not shy away from discussing the polarizing reception of films like Cruising and Deal of the Century, providing context and analysis that help readers understand the complexities of these works. This comprehensive approach ensures that the book serves as both a celebration of Friedkin's achievements and a critical examination of his missteps.
The updated third edition of the book includes chapters on Friedkin's later works, such as Bug, Killer Joe, and his final film, The Caine Mutiny Court-Martial, offering a complete overview of the director's evolving style and thematic concerns. Clagett's writing is both scholarly and accessible, making the book suitable for film students, scholars, and casual enthusiasts alike.
In conclusion, the book is an indispensable resource for anyone interested in the life and work of William Friedkin and the workings of Hollywood. Clagett's thorough research, insightful analysis, and engaging prose combine to create a compelling portrait of a director whose films continue to challenge and captivate audiences. I rank William Friedkin: Films of Aberration, Obsession and Reality as an essential Hollywood read in the same league as Picture by Lillian Ross (1952) and Adventures in the Screen Trade by William Goldman (1983).
July 18, 2017
A good examination of Friedkin's career that unfortunately ends while he was still in a significant slump.
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June 22, 2009Read the STOP SMILING interview excerpt with filmmaker William Friedkin
LIKE AN ACT OF GOD: WILLIAM FRIEDKIN
By James Hughes
(This interview originally appeared in STOP SMILING The Chicago Issue)
On Tuesday Dec. 27th, the Library of Congress selected The French Connection (1971) as one of 25 films to be added to the National Film Registry. The film, which also won the Oscar for Best Picture, was directed by Chicago native William Friedkin, whose career in television and film spans six decades. Friedkin got his start directing live television for WGN-TV in the mid-Fifties before advancing to documentaries (The People vs. Paul Crump, 1962), network television ("The Alfred Hitchcock Hour") and feature films (The Exorcist, Sorcerer, Cruising, To Live and Die in LA).
A director known for his versatility, Friedkin has also achieved noteriety as a director of operas. In his interview with STOP SMILING — a discussion that focuses largely on his days growing up in Chicago — Friedkin took the time to discuss his thoughts on the opera, and his impressions of working on some of the world's premier stages.
Stop Smiling: In the past few years you've been active in the opera, directing several productions throughout the world.
William Friedkin: I just came back from Italy, where I did Aida for the Turin Opera. I'm now preparing Salome for Munich, and two operas for the Kennedy Center in the fall. I have several others in the works. I've been directing operas since about 1998. Again, I got into it quite by accident. I love it. It's a wonderful experience in all ways.
SS: Is there a difference between how your productions are staged in the U.S. and Europe?
WF: The different opera houses have different standards. The toughest place I ever worked was Israel, at the Tel Aviv Opera where I did Samson and Delilah. It's sort of a kibbutz mentality, where there's no one in control. Everyone has to have a say, which is not how I work.
SS: Regarding your approach to opera, you told the New York Times: “I don't think you need to perform it as though Victoria were still on the throne.” What then should the approach be of a contemporary opera director?
WF: The context for that is this: I try to fulfill the intentions for the composer first, as I understand them. My philosophy with an opera is the surgeon's credo, which is first, do no harm. Nevertheless, I realize that an opera like Aida was written and first performed in 1871 and was lit by gaslight, and Victoria was on the throne. I'm not going to do it so faithfully that I'm going to light it with gaslight. In fact, in some of Verdi's instructions to the singers, he tells the female singers to be careful crossing the stage at one point — that they lift their skirts up – so they don't get burned by the gaslight. My reference to that is, where I try to be faithful to the intentions of the composer, I still can't do it like he was alive. You're doing it now with contemporary sensibilities and equipment. That doesn't mean that I would take Aida, which is set in ancient Egypt during the reign of the pharaohs, and move it to Iraq and set it in the CNN bureau, or something to that effect. I don't think you need to change the time period to make a story relevant — it's about emotions that are extraordinarily relevant.
Read the complete interview excerpt...
LIKE AN ACT OF GOD: WILLIAM FRIEDKIN
By James Hughes
(This interview originally appeared in STOP SMILING The Chicago Issue)
On Tuesday Dec. 27th, the Library of Congress selected The French Connection (1971) as one of 25 films to be added to the National Film Registry. The film, which also won the Oscar for Best Picture, was directed by Chicago native William Friedkin, whose career in television and film spans six decades. Friedkin got his start directing live television for WGN-TV in the mid-Fifties before advancing to documentaries (The People vs. Paul Crump, 1962), network television ("The Alfred Hitchcock Hour") and feature films (The Exorcist, Sorcerer, Cruising, To Live and Die in LA).
A director known for his versatility, Friedkin has also achieved noteriety as a director of operas. In his interview with STOP SMILING — a discussion that focuses largely on his days growing up in Chicago — Friedkin took the time to discuss his thoughts on the opera, and his impressions of working on some of the world's premier stages.
Stop Smiling: In the past few years you've been active in the opera, directing several productions throughout the world.
William Friedkin: I just came back from Italy, where I did Aida for the Turin Opera. I'm now preparing Salome for Munich, and two operas for the Kennedy Center in the fall. I have several others in the works. I've been directing operas since about 1998. Again, I got into it quite by accident. I love it. It's a wonderful experience in all ways.
SS: Is there a difference between how your productions are staged in the U.S. and Europe?
WF: The different opera houses have different standards. The toughest place I ever worked was Israel, at the Tel Aviv Opera where I did Samson and Delilah. It's sort of a kibbutz mentality, where there's no one in control. Everyone has to have a say, which is not how I work.
SS: Regarding your approach to opera, you told the New York Times: “I don't think you need to perform it as though Victoria were still on the throne.” What then should the approach be of a contemporary opera director?
WF: The context for that is this: I try to fulfill the intentions for the composer first, as I understand them. My philosophy with an opera is the surgeon's credo, which is first, do no harm. Nevertheless, I realize that an opera like Aida was written and first performed in 1871 and was lit by gaslight, and Victoria was on the throne. I'm not going to do it so faithfully that I'm going to light it with gaslight. In fact, in some of Verdi's instructions to the singers, he tells the female singers to be careful crossing the stage at one point — that they lift their skirts up – so they don't get burned by the gaslight. My reference to that is, where I try to be faithful to the intentions of the composer, I still can't do it like he was alive. You're doing it now with contemporary sensibilities and equipment. That doesn't mean that I would take Aida, which is set in ancient Egypt during the reign of the pharaohs, and move it to Iraq and set it in the CNN bureau, or something to that effect. I don't think you need to change the time period to make a story relevant — it's about emotions that are extraordinarily relevant.
Read the complete interview excerpt...
April 21, 2013
Great filmmaker. Never really thought much of him before but this book was very insightful.
Displaying 1 - 4 of 4 reviews