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William Peter Blatty

William Peter Blatty

Writing

Biography

William Peter Blatty (January 7, 1928 – January 12, 2017) was an American writer, director and producer. He is best known for his 1971 novel The Exorcist and for his screenplay for the 1973 film adaptation. Blatty won an Academy Award for Best Adapted Screenplay for The Exorcist, and was nominated for Best Picture as its producer. The film also earned Blatty a Golden Globe Award for Best Motion Picture – Drama as producer. Born and raised in New York City, Blatty received his bachelor's degree in English from Georgetown University in 1950, and his master's degree in English literature from the George Washington University. Following completion of his master's degree in 1954, he joined the United States Air Force and served in the Psychological Warfare Division where he attained the rank of first lieutenant. After service in the air force, he worked for the United States Information Agency in Beirut. After the success of The Exorcist, Blatty reworked his 1966 novel Twinkle, Twinkle, "Killer" Kane! into a new novel titled The Ninth Configuration, published in 1978. He went on to adapt the novel into the 1980 film, which was also his directorial debut. At the 38th Golden Globe Awards, the film won Best Screenplay and was nominated for Best Picture. Blatty refused to have any involvement with the first sequel to The Exorcist; it was critically panned. He directed the second sequel, The Exorcist III (1990), which he adapted from his 1983 novel Legion. His second film as a director, The Exorcist III was his final directorial credit and final screenplay credit. Some of his later novels include Elsewhere (2009), Dimiter (2010) and Crazy (2010). Description above from the Wikipedia article William Peter Blatty, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Known For

What She Said: The Art of Pauline Kael
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Pauline Kael (1919–2001) was undoubtedly one of the greatest names in film criticism. A Californian native, she wrote her first review in 1953 and joined ‘The New Yorker’ in 1968. Praised for her highly opinionated and feisty writing style and criticised for her subjective and sometimes ruthless reviews, Kael’s writing was refreshingly and intensely rooted in her experience of watching a film as a member of the audience. Loved and hated in equal measure – loved by other critics for whom she was immensely influential, and hated by filmmakers whose films she trashed - Kael destroyed films that have since become classics such as The Sound of Music and raved about others such as Bonnie and Clyde. She was also aware of the perennial difficulties for women working in the movies and in film criticism, and fiercely fought sexism, both in her reviews and in her media appearances.

What She Said: The Art of Pauline Kael

2019Movie