FOLLOW US

What Still Lurks Behind The Exorcist

• The legal fight overBeyond the Door produced a remarkable ruling — filmmakers cannot copyright the basic idea or familiar visual language of demonic possession.
• Warner Bros. separately targetedAbby, claiming the 1974 possession film was substantially similar to The Exorcist, ultimately reaching a settlement that restricted its re-release.
• The courtroom battles didn’t end with imitators — decades later,Exorcist creators William Friedkin and William Peter Blatty were fighting studios over money, licensing and sequel rights.

By Samuel López | USA Herald

As Halloween 2026 approaches, millions of horror fans will again revisit a film that still manages to make a dark bedroom, a staircase and the sound of someone breathing feel dangerous.

The Exorcist did more than terrify audiences. It created a fascinating legal question that Hollywood would spend years arguing over: How much of a hit movie can its owner actually own?

William Friedkin's 1973 film, adapted from William Peter Blatty's novel, became a cultural phenomenon centered on 12-year-old Regan MacNeil, demonic possession and two Catholic priests attempting an exorcism. Its commercial success inevitably brought imitators — and lawyers.

One of the most important disputes was Warner Bros. Inc. v. Film Ventures International, 403 F. Supp. 522 (C.D. Cal. 1975), involving the Italian-produced horror movie Beyond the Door. Warner Bros. and Hoya Productions accused the defendants of copying protectable elements of The Exorcist. The litigation became so widespread that four related federal actions were consolidated through multidistrict litigation.

But Warner encountered an important limit in copyright law.

The court recognized obvious similarities. Both films depicted demonic possession and used disturbing physical effects — contortions, vomiting, supernatural movement, strange sounds and objects moving without explanation. But U.S. District Judge David W. Williams rejected the argument that Warner could effectively own those basic cinematic methods of portraying possession.

The court put the problem plainly: neither Blatty nor Warner had the right to monopolize the phenomenon of demonic possession itself. Common ways of portraying a possessed person were ideas or standard forms of expression that could not simply be removed from everyone else's toolbox.

That distinction remains important today. Copyright protects original expression — not an entire genre, theme or general concept.

Warner did win on another front. The court found problems with advertising for Beyond the Door, including imagery resembling promotional material for The Exorcist. It also ordered defendants to stop using a stylized "T" resembling a crucifix, finding that the advertising could suggest a connection between the films that did not exist.

Then there was Abby.

The 1974 William Girdler horror film involved an adult woman possessed by a supernatural entity. Warner sued Mid-America Pictures and American International Pictures in 1975, alleging Abby was substantially similar to The Exorcist. According to the American Film Institute catalog, the case eventually settled for an undisclosed payment, with an important condition: Abby could not be reissued without Warner Bros.' permission. AFI Catalog

And the lawsuits eventually turned inward.

In 2001, Friedkin and Blatty sued Warner Bros., alleging the studio had understated revenue and improperly structured television licensing associated with The Exorcist and its re-release. Warner disputed the allegations.

Four years later, Blatty sued Morgan Creek Productions over Exorcist sequel payments, alleging he had not received money contractually owed following Dominion: Prequel to the Exorcist.

More than half a century later, perhaps the strangest legacy of The Exorcist is this: the movie frightened Hollywood so effectively that competitors copied its atmosphere, its creators fought over its profits, and judges had to decide where supernatural inspiration ended and legally protected expression began.

The devil, as lawyers like to say, was in the details.

About the Author

Samuel López is a reporter and news correspondent for USA Herald who has reported for the publication since 2022. López is also a seasoned legal professional with more than two decades of experience analyzing state and federal litigation, complex legal disputes and court records. His legal background informs his reporting on copyright litigation, entertainment disputes and the court decisions behind major cultural stories.

Keep Reading Beyond the Headlines

Enjoyed this story? Get USA Herald's original reporting, legal analysis, investigations and stories that go beyond the daily news cycle delivered directly to you. Sign up for the USA Herald newsletter

👉 Follow USA Herald on X: @RealUSAHerald