Billy Friedkin remains a uniquely unforgettable figure to his friends and colleagues — an eternal contradiction, both cantankerous yet kindly, argumentative yet thoughtful.
He was a brilliant creator of popular entertainment but, to his close friends, also was brooding and cerebral. Typically in his final days, Friedkin — who died Monday at 87 — was looking forward to visiting Venice for the festival screening of his newest movie, a remake of The Caine Mutiny Court-Martial for Showtime.
At the same time, he was prepping an opera that he would direct in Florence. Friedkin loved talking about film and filmmakers but was equally comfortable discussing the literary works of Marcel Proust, the revered French novelist, or the intricacies of Mozart. RELATED: New ‘Exorcist’ Trilogy’s Producer Jason Blum Says He’s “Personally Indebted” To William Friedkin Although forging ahead with new ventures until the end, Friedkin loved to revisit his past and the characters who inspired him.
I reunited him two years ago with Norman Lloyd, the brilliant actor and director who nurtured Friedkin’s Hollywood career when he first worked as a director of Alfred Hitchcock television thrillers. “I was a dumb kid, and you saved my butt,” Friedkin told Lloyd.
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