in silhouette, an orange sky behind them and the film's title in orange below. It was used as an international teaser poster. "That went out in six languages and they gave me the translation in each language and I set the type in the same style and I fortunately was able to supervise the printing—silk screened rather than lithography—and printed thousands of each and they were distributed around the world", Perri recalls. As a result of the success of The Exorcist, Perri went on to design opening titles for a number of major films including Taxi Driver (1976), Star Wars (1977), and Gangs of New York (2002). In a 2019 article where Perri discussed how he worked with Friedkin to create the credits, the Art of the Title website observed that the disjuncture between Georgetown and Iraq, "two locations with an unclear connection", the title sequence enhances the film by keeping the audience off balance until Merrin arrives at the MacNeils in the last act. "The film asks its audience to hold ideas, timelines, and locations on the other side of the world in mind", the site says. "The importance of these varied narratives of the main characters in the film allows The Exorcist to extend the battle between good and evil beyond a family home in Georgetown, Washington and reveal the demons that lurk all around us." Music Friedkin rejected Lalo Schifrin's working score. The composer had written six minutes of music for the initial trailer but audiences were reportedly too scared by its combination of sights and sounds. According to Schifrin, Warner executives told Friedkin to instruct him to tone it down with softer music, but he never did; Schifrin disclosed in 2005 that he believes this was in retaliation for an earlier "incident" between the two that he declined to describe as he was already going against legal advice by saying that much. Schifrin denies claims he used his original Exorcist music several years later for The Amityville Horror. According to a 1998 documentary, Friedkin took the tapes that Schifrin had recorded and threw them away in the studio parking lot. In his Castle of Frankenstein interview shortly after the film's release, Friedkin discussed the evolution of the film's music. He said he had hired a composer, whom he did not name, to write a score, "and he did a score all right, and I thought it