in charge of filming every scene in the film save those in the Iraqi prologue, shot by Billy Williams. In a 1974 interview with American Cinematographer, the magazine of the American Society of Cinematographers, Roizman discussed The Exorcist at length. "[H]e figured that since we'd done so well the last time, maybe we could do it again", Roizman said, recalling how Friedkin had gotten him to work on The Exorcist. They agreed that, like their earlier film, they wanted the next one to look as if shot with available light. But this time they would eschew Connections documentary look. The MacNeil house was, unlike house interiors in horror films such as Psycho, designed to look normal and inviting. "What we tried to do, by means of the lighting, was to give it a kind of ominous feeling—as if some lurking, mysterious thing were hanging over it. That's about as far as we went with photographic style." While much of the filming took place in the set for Regan's bedroom, there were some other parts of the house set that presented challenges when filming. Roizman said the ceiling of the basement set left no room for conventional lighting setups. "There was really no place at all to put lights and, in doing any sort of pan around or dolly shot, we would have been fighting ourselves had we tried to use conventional lighting units." But the crew was able to make those shots work by replacing the ceiling's practical light bulbs with photofloods. "Friedkin demanded complete realism", Roizman recalled. "He wanted to see pictures with glass in them, mirrors on the walls and all of the other highly reflective surfaces you would naturally find in a house, we never tried to cover anything up, as we would normally do for expedience in shooting." This realism meant that the kitchen set, with much stainless steel and glass, was "virtually impossible" to light beyond the practical ceiling fixtures and whatever other lights they could manage to sneak in and hide. "[W]e'd walk in, hit the switch and shoot—through not much choice." One shot early in the film seemed simple when seen but, according to Roizman, required intense preparation and rehearsal. In it, Sharon greets the doctors and escorts them upstairs to Regan's room. The camera starts the scene at the top of the staircase, follows the actors from there as they walk towards