The 1972–73 production of William Friedkin's The Exorcist was famous less for supernatural phenomena than for how physically brutal the shoot was for its cast — and for Ellen Burstyn in particular. Principal photography in New York stretched into relentless schedules—Burstyn later described the shoot as "six‑day weeks, twelve‑hour days for nine months"—and Friedkin frequently used extreme methods to extract raw reactions from actors, including brandishing a prop gun on set to provoke authentic fear and surprise. During those punishing months Burstyn injured her coccyx; what began as a on‑set injury never fully healed and is described in her biographies as a permanent spinal injury. The production's hardships are a well documented part of its lore: despite the physical toll on actors and crew the film became a cultural phenomenon, earning multiple Oscars and an Academy Award nomination for Burstyn, but the personal cost to her body was lasting and tangible.
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