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The Sting had been nominated， two months before， m
ten categories， including Cinematography， Editing， Actor，
Screenplay， Director， and Best Picture. The Exorcist，
which had garnered an equal number of nominations， had
been released the same day， two days before Christmas.
It had received an enormous amount of initial publicity;
even The New York Times carried pictures of people lined
up in Ine corgi toy ~et trt.
Warners had been far too cautious in its release of The
Exorcist. It had opened in only twenty-four theaters. At
90/10 deals， Leo Greenfield kept reminding us. But then，
he was the guy who tom us， based on the first week s
figures， that our picture would gross maybe fifteen mil.
We had opened in 220 theaters， with 70/30 deals， and kept
widening the release. Warners waited a good six weeks
until they went wide. But The Exorcist was only a three-
week picture; the audience lost interest before it was
available.
The Sting， on the other hand， had staying power. It
had hung in， week after week， and it had opened in ten
times the number of theaters. Not only was The Sting
racking up some very impressive figures， but people had
started to notice that it was an excellent movie. It certainly
didn t send you out in the street unsure whether to hit a
church or a bar， as The Exorcist did. And Warners had
a crack at The Sting and turned us down.
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