Everyone wants a good list, and celebrities sharing their favorite stains are always fun, providing an overview of their personal flavors and perhaps what makes them break them as artists. Thanks to these tidbits, we now know that "Willie Wonka and the Chocolate Factory" inspired Salma Hayek Pinal to become an actor, and Nyoni Depp wanted a tornado to take him out of his teenage life after watching the "Wizard of Oz". Similarly, it is no surprise that a great mainstream director as Steven Spielberg tends to well old -fashioned storytelling in Hollywood, while Werner Herzog is characterized by esoteric documentaries that most people will never hear. But what about Steven King, the fertile author whose works inspired countless film adaptations?

In September 2025, King revealed its 10 favorite films of all time X (formerly known as Twitter). Stunningly, he preferred the list, noting that his election excluded films based on his own novels, checking the name "Misery" and "Shoashank" as examples, among several others. (Surprisingly, however, He did not mention Stanley Kubrick's "glitter".) For the most part, King's elections are classic weather conditions that reflect his passion for turning good yarn, including the Likes of Casablanca, "The Wealth of Sierra Madre", "Double Damage", "The godfather Part II" and "jaws". Martin Scorsese's semi-autobiographical "middle streets" also reduced director director as a "taxi driver", "Bull Bull" and "Goodfelas", which makes sense, as King also channels many of its life experiences.

Meanwhile, "close -up meetings of the third type" is his second choice of Spielberg, which is similarly checked: it is a little light on the narrative, but more than it makes up with its wonderful spectacle, with King puting its darkest spin on the idea of ​​foreign visitors in novels like "Tomykmikonjs". "Groundhog's Day", however, is his unique selection of comedy, which is fair enough: not only is a great movie, but you can also see how the script during the loop may be like the writer who regularly explores the mysterious and fantastic. Finally, the list is rounded out with two more surprising choices: "The Getaway" by Sam Pekinpa and William Friedkin's "wizard". The latter is one of the most underestimated thrillers of all time, but he was the first on the King list, indicating that he holds him in the greatest sight. Let's take a closer look at why the "wizard" doesn't get the loan he deserves and why it's so special.

William Fridkin was on a hot string in the 1970s. The "French relationship" was a great commercial success and won five Oscars, including the best image, director and actor for Ein Hackman. Friedkin then followed it with the "exorcist", even greater blot at the box office, which became the first horror film to nominate the Academy Academy Award for Best Picture. He also earned Friedkin the second consecutive knot in the category of best directors, but he and the film lost George Roy Hill and Sting.

Those successes on their backs have made Friedkin one of the hottest directors of the decade. Unfortunately, however, he was unable to profit that intensity and climb a series of unrealized projects. He started working on a documentary about horror cinema titled "Safe Darkness" in an interview with Fritz Lang and Roman Polanski in the process. He then bought the rights of Will Eisner's comics "The Shoul", but dropped out with his screenwriter. On top of that, he began developing a UFO film, called the "Devil Triangle", in order to throw Steve McQueen, Charlton Heston and Marlon Brando.

The last venture was a shelter when Friedkin started working on the next finished picture, "Wizard". According to the director, the studio believed that his sweaty remake of "the salaries of fear" of Henry-Gogg Cupline could be another hit, but a The perfect storm of trouble written accident for the picture. Friedkin's intended Starvar, Steve McQueen, turned out and was replaced by Roy Shader - a very capable actor who comes out of the back of the "jaws", but without the Starwear power to sell a film to an audience. It also did not help that the title was confusing for many people, misleading them to expect more supernatural action after the "exorcist".

However, the most damaging, the "wizard" came out a month after the "war on the Starvali: Episode IV - New Hope", an instant cultural phenomenon that Friedkin spent production. In the summer of 1977, it seemed that no one wanted a gloomy existential thriller, while George Lucas's windy space adventure was still breaking the box office records. As a result, the "wizard" went hard and signaled the beginning of the end for the new Hollywood movement led by an author. Friedkin then made some decent films, but his career never fully recovered from that disappointment. Fortunately, he has maintained faith in the "wizard" and has gained a real reputation as a true classic in recent decades.

Steven King is the master of keeping readers on the edge of his place, so it may not be a surprise that he evaluates so high the "wizard". After all, the film is centered around one of the most suspicious understandings in the history of the cinema: four desperate men who drive two distorted trucks containing dynamite to seal well oil. Capturing it is that high-speed explosives can be blown in the slightest congestion, and the route they must travel is not appropriate for smooth driving.

Friedkin used quasi-documentary style for both the "French relationship" and the "exorcist" and he pushed the technique to the "Wizard" border. He throws us right into a disorienting international prologue, delivering backstew for every man: Nilo (Francisco Rubal), hired killer on the run after a hit in Mexico; Kassem (Amido) Palestinian rebel escaping from Israel's defense forces after detonating a bomb on the bus; And Victor Manson (Bruno Kremer), a Parisian banker who leaves everything behind to escape the arrest of fraud. Finally, we get some English dialogue as we meet the nominal protagonist of the film, Jackowski Scanlon (Shander), a bandit in the Newoo Jerseyers of the Mafia Lam. Now, they are all gathered in a depleted village of Latin America, without means to emigrate somewhere better. Then they are offered a suspicious opportunity to make little money by transporting boxes by decomposing 200 miles through the jungle.

The "wizard" is a slow burning that is being built on the moment of stopping the show, where guys must drive trucks across the bridge that breaks down in the river over the swelling river in the middle of a violent storm. She is one of the most famous sequences for biting the nails I've seen, as well as the one who shows Friedkin's film film. The sound design puts us at the moment when the trucks grow, and the bridge cracks and storm howls around our ears. You may feel the huge weight of the trucks as they get forward over rot trees, and Friedkin tightens tightness until something finally adheres. The director came out of a comprehensive authenticity, driving real trucks through a real jungley in the Dominican Republic to capture the scene. Taking the usual practical approach, Friedkin himself fell into the water While filming the bridge crossing, a piece made by the "wizard" on its own one of the largest thrillers ever made.