FILM · 1978 · UK
Damien: Omen II
57 archived facts 6 topics 1 source Last reviewed Oct 2026
- #001
- #002
- #003
- #004
While Mike Hodges was the film's director, his attitude toward the cast and crew was almost "strictly business," which may have led producer Harvey Bernhard to fire him and later hire Don Taylor, and to shut down production for about a week so Taylor could catch up. When Taylor entered the film set, the atmosphere was much more relaxed and energetic; Taylor was loose and playful with the actors and crew to keep things lighter.
- #005
William Holden was the original choice to star in the first film, The Omen (1976), but he turned down the offer because he did not want to appear in a film about the devil. Gregory Peck was cast instead. "The Omen" became a major hit, and Holden made sure not to turn down the role in this sequel.
- #006
Apparently, to shoot the death scene of Carl Bugenhagen and Michael Morgan at the beginning of the film, the producers brought plastic sand with them from Hollywood. The scene was filmed in the dungeons beneath the Knights' Halls in Acre, Israel. At the time of filming, the landmark had only recently been uncovered and had been filled with sand for centuries to preserve it for future generations. So there was no shortage of sand around. Leo McKern, who played Bugenhagen, insisted on being buried in the real thing.
- #007
- #008
- #009
When Harvey Bernhard finished writing the script and greenlit production, the first person he contacted was Jerry Goldsmith, due to the composer's busy schedule. Bernhard also felt that Goldsmith's music for The Omen (1976) was that film's high point and that this sequel could never succeed without Goldsmith's music.
- #010
- #011
- #012
- #013
Lance Henriksen, who played Damien's platoon sergeant Daniel Neff at the military academy, stated in an article that this film drew him little attention after its release. He explained that he was hired by the film's original director, Mike Hodges, and that together with Hodges he planned for Neff to be a Vietnam War veteran who returns home to guide the young Damien toward his destiny. He also admired Hodges's plans to include artistic touches in the film, such as classical paintings (including but not limited to Edvard Munch's "The Scream"). Hodges's talent for the dramatic and artistic can be seen in the many visual references in the finished film that prefigure various death scenes. Henriksen explained that with Hodges's sudden departure from the production, many of his plans for the film went with him. He said he felt ignored by Don Taylor, who replaced Hodges and rushed to complete the film on time and on budget. Henriksen stated that he did not care much for the finished film and that it added little to his career, while he felt an affinity for the military academy students and bought them a television when filming there ended. Unfortunately, despite playing one of Damien's guardians and mentors, Henriksen did not have much of a relationship with Jonathan Scott-Taylor on set.
- #014
According to Lee Grant, she and William Holden were very pleasant and friendly throughout the shoot; as they grew personally closer, Grant secretly fell in love with him. Holden later began to distance himself from her because she added great tension to the film's finale and shocking ending.
- #015
The detail of Damien astonishing his teacher with his incredibly advanced knowledge of history comes from the original medieval legends of the Antichrist, who develops intellectually at a superhuman rate (a demonic parody of the twelve-year-old Jesus astonishing the Hebrew scholars in Luke 2:40-47).
- #016
- #017
- #018
- #019
- #020
- #021
- #022
- #023
While writing the score for this film, composer Jerry Goldsmith at times used arrangements of new cues from the first film's music. This was highly unusual for him and was allegedly done because the producers asked him to reuse the original film's music in the sequel. He still created many completely original cues and musical ideas, but he was apparently frustrated by the experience. When the time came to score the third film, he started from scratch, creating an entirely new musical palette and writing new Latin texts.
- #024
- #025
- #026
- #027
- #028
- #029
- #030
- #031
- #032
Early in the film, when the statue of the Whore of Babylon is unearthed in Jerusalem, the whore is shown riding the ten-headed beast, leaning back with her head looking up at the sky. This statue foreshadows another statue at Davidson Military Academy. When the students first meet Sergeant Neff, the statue they are facing in the background is a figure on horseback in exactly the same pose as the Whore of Babylon.
- #033
Joseph Howard's novelization of the film states that the Thorn family is regarded as being as prestigious as the British Royal Family. This may explain why Richard Thorn protects his family and their privacy so fiercely. The novelization gives the example of the family's vacation home in Wisconsin being placed under intense security surveillance, especially after the kidnapping of Patricia Hearst. Media attention, which would likely have focused on the family after Robert Thorn's suspicious death in the first film, could of course have contributed to this decision. This also helps explain why Richard is tense and angry when Robert is mentioned.
- #034
- #035
- #036
- #037
- #038
- #039
- #040
- #041
- #042
- #043
- #044
- #045
Damien does not appear to physically kill anyone in this film. We see a series of strange accidents that kill the Devil's enemies, seemingly engineered not by Damien but by the Devil himself or demonic forces. Yet by the film's end, when the chamber in the museum explodes and Anne burns while crying "Damien!", and Mark suffers an aneurysm, we suspect foul play.
- #046
- #047
- #048
After setting fire to the Field Museum (not the Museum of Science and Industry) and killing his aunt, Damien turns and walks toward the limousine, smiling maliciously and knowingly at his driver Murray. This is the same limousine driver we saw when Damien and Mark first hung out, joking about Aunt Marion, asking her for a cigarette, and so on.
- #049
- #050
- #051
The elevator where one of the film's deaths takes place is a real, public elevator at the Griffin Museum of Science and Industry. Details in the scene imply the victim enters on the 23rd floor, but in reality they enter from the basement, and the elevator only travels between the museum's three public floors. The floor indicators and button panel were props added during filming to give the impression of greater height. Any visitor to the museum can recreate this ride (minus the gruesome outcome) and, in doing so, will find it as it appears in the film, along with themed educational content such as highly realistic anatomical models of dissected organs mounted on the walls, and upon reaching the top floor will be just a few steps from an unparalleled collection of real human body specimens.
- #052
Leo McKern (Carl Bugenhagen) and Ian Hendry (Michael) are not credited in the film's titles because the opening scenes shot by director Mike Hodges in Acre, Israel, are also uncredited in the film's titles. Both actors openly refused to appear in the film of its credited director Don Taylor because neither had been directed by him.
- #053
- #054
- #055
- #056
- #057

