Some interesting comments in there.
RE:
LOTR - not shot in CinemaScope, but shot 'two films at once' on Super 35.
Jackson has commented on how he shot open matte 35mm, so he composed both for 2.35:1 and 16:9 simultaneously (see extras on the Spec Ed DVDs – and no, I’m not wading through all 2 million hours to give you a time check on exactly when

).
Personal opinion, I don't find these films to be remotely 'deep'. There are a lot of different characters involved, but I don't think there's too much in the way of sub-plots as such - certainly not with a lot of sub-text.
By-the-by, a lot of people love them.
RE:
The Exorcist - Great discussion about Friedkin and interesting comments about
The French Connection. The latter was styled largely after Costa-Gavras'
Z, which is being re-issued by Criterion in October - I hope you give this one a review.
I was interested in the discussion of church boycott's etc. Perhaps what you were not aware of was that, whilst the film was largely condemned by evangelical groups, the Roman Catholic Church was largely very supportive, mainly for the reasons given by Chris.
For more information on the film Marc Kermode has written a wonderful book for the BFI, updated to include the 'version you've never seen':
The "Exorcist" (BFI Modern Classics): Amazon.co.uk: Mark Kermode: Books
I'm afraid the comments made in this podcast about this 'newer' version are just a little inaccurate. The producer had no real axe to grind about which version to release, other than regarding time constraints.
Friedkin originally cut a version very similar to 'the version you've never seen' before the initial theatrical release. William Blatty (author & screenwriter) liked the ending - he wrote it! His publisher had asked for a less 'obvious' ending than he'd given when the book was published and felt he wanted to set the record straight with the film. Friedkin originally agreed (which is why the footage exists in the first place, to re-insert), but later felt it was too 'obvious'.
However, at various screenings of the original 'theatrical' version, it became clear that some audiences thought the ending was that 'evil' won. Subsequently Blatty petitioned Friedkin over the years to re-insert the footage to make it clear (Friedkin, remember, thought it was already clear).
In the end Friedkin agreed. That's why we have this version.
I would imagine that Blatty would point out that the fact you're discussing the addition of a 'happy' ending which changes the meaning of the film proves his point. Guys, it was
always a 'happy' ending. People just missed it, which is why the original end was re-inserted.
To confirm - this isn't a tagged on happy ending which changes the film - it's the originally-shot scene which just underlined the fact that the film had a happy ending anyway. Whether the change in tone is jarring is open to debate, but it doesn't change the meaning of the ending.
Hope that helps clear it up.
Steve W