scene, offending the many Catholic crew members on set. "It was beyond what anyone needs to do to make a movie," Burstyn said in 2019. He also fired blanks without warning to elicit shock from Miller for a take; Dietz recalls him also doing this during the scene where Regan assaults the doctors who have come to see her. Friedkin also told Miller that the vomit, porridge colored to resemble pea soup and pumped through a hidden tube, would hit him in the chest during the projectile vomiting scene, and rehearsed it that way. But when filmed, the soup hit his face, resulting in his disgusted reaction. Friedkin also used smell to manipulate the actors, Dietz recalls. Since the demon's presence was, in the book, accompanied by the stench of Regan's near-continuous diarrhea, to ensure an equally distasteful odor on set the director would hide rotten meat or eggs on the set. While it worked initially, "[t]he problem was the crew and the cast all got sick so we had to stop shooting", she said. Crewmembers found Friedkin demanding and sometimes difficult to work with. One of the first shots, when production began in New York, was of bacon being cooked on a griddle. It begins as a close-up and then pulls back. A wall had been built opposite the stove, leaving almost no space for the dolly, so Friedkin halted shooting while it was removed. Afterward, he did not like the way the bacon curled while cooking, so the prop master was sent to look for preservative-free bacon, difficult to find at the time, further delaying the scene. Another crewmember recalls returning after three days of sick leave to find Friedkin still shooting the same scene. Dietz recalls shooting taking so long because Friedkin reshot most of the film. Even scenes that had been difficult to stage and film the first time, such as Regan's bed shaking, were redone. "People were literally placing bets on what he would re-shoot next." Friedkin also fired and rehired crew regularly. One crewmember recalls seeing the director shake hands warmly with someone, and then seconds later tell a second person to "get this guy outta here". This mercurial behavior led the crew to call him "Wacky Willy". Cinematography Director of photography Owen Roizman had worked with Friedkin in that capacity on The French Connection. The two collaborated again on The Exorcist, with Roizman