Plongez dans l'univers de Stephen King
Le Roi L'Amérique de Stephen King est un documentaire français réalisé par Cédric Davelut et sorti en 2019. Ce film d'une heure et demie explore l'oeuvre de Stephen King, l'un des auteurs les plus populaires et influents du monde, à travers le prisme de l'Amérique.
L'Amérique selon Stephen King
Le documentaire analyse les thèmes récurrents dans les romans et les nouvelles de Stephen King, tels que la peur, la violence, l'enfance, la famille et les petites villes américaines. Il montre comment ces thèmes reflètent les angoisses et les rêves de la société américaine.
Des entretiens avec des spécialistes
Le film comprend des entretiens avec des spécialistes de l'oeuvre de Stephen King, tels que John Clute, biographe de l'auteur, et Mick Garris, réalisateur de plusieurs adaptations de ses romans. Ces entretiens permettent de mieux comprendre la complexité de l'oeuvre de King et son influence sur la culture populaire.
Des images d'archives
Le Roi L'Amérique de Stephen King utilise également des images d'archives pour illustrer les propos des intervenants. Ces images incluent des extraits de films et de séries télévisées adaptés des oeuvres de King, ainsi que des photos et des vidéos de l'auteur lui-même.
Un documentaire captivant et éclairant
Le Roi L'Amérique de Stephen King est un documentaire captivant et éclairant qui offre un regard original sur l'oeuvre de Stephen King et son lien avec l'Amérique. Que vous soyez un fan de Stephen King ou simplement curieux de mieux comprendre son univers, ce film est un incontournable.
Voici quelques informations supplémentaires sur le documentaire:
Réalisateur: Cédric Davelut
Année de production: 2019
Durée: 1h30
Le Roi L'Amérique de Stephen King est un documentaire français réalisé par Cédric Davelut et sorti en 2019. Ce film d'une heure et demie explore l'oeuvre de Stephen King, l'un des auteurs les plus populaires et influents du monde, à travers le prisme de l'Amérique.
L'Amérique selon Stephen King
Le documentaire analyse les thèmes récurrents dans les romans et les nouvelles de Stephen King, tels que la peur, la violence, l'enfance, la famille et les petites villes américaines. Il montre comment ces thèmes reflètent les angoisses et les rêves de la société américaine.
Des entretiens avec des spécialistes
Le film comprend des entretiens avec des spécialistes de l'oeuvre de Stephen King, tels que John Clute, biographe de l'auteur, et Mick Garris, réalisateur de plusieurs adaptations de ses romans. Ces entretiens permettent de mieux comprendre la complexité de l'oeuvre de King et son influence sur la culture populaire.
Des images d'archives
Le Roi L'Amérique de Stephen King utilise également des images d'archives pour illustrer les propos des intervenants. Ces images incluent des extraits de films et de séries télévisées adaptés des oeuvres de King, ainsi que des photos et des vidéos de l'auteur lui-même.
Un documentaire captivant et éclairant
Le Roi L'Amérique de Stephen King est un documentaire captivant et éclairant qui offre un regard original sur l'oeuvre de Stephen King et son lien avec l'Amérique. Que vous soyez un fan de Stephen King ou simplement curieux de mieux comprendre son univers, ce film est un incontournable.
Voici quelques informations supplémentaires sur le documentaire:
Réalisateur: Cédric Davelut
Année de production: 2019
Durée: 1h30
Category
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TVTranscription
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00:14 - I think of him as a great storyteller. I think he's one of
00:17 the best novelists in America writing today. I really believe
00:21 that. His short stories are extraordinary.
00:24 - He's a great writer. Just rich.
00:28 - Stephen King is, I believe, the reincarnation of Charles
00:32 Dickens.
00:33 - He really just has become like a national hero in a way.
00:39 - I grew up with Stephen King as part of our life. Not just the
00:42 books but also the movies because we got to see them
00:44 being filmed all around us in my small town.
00:47 - He obviously had an extraordinary effect on
00:50 Hollywood and on the development of the horror genre.
00:54 - It's definitely a very important element in pop culture.
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01:05 - What a lot of people don't realize is that from the mundane,
01:10 the everyday, comes a great source of horror.
01:15 Welcome to the horrific universe of Stephen King.
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02:51 - Stephen King, with the money that he makes from his movies
02:54 and books, he could live anywhere in the world.
02:56 He could, if he wanted to live in Beverly Hills in California,
02:59 he could. He has the money to do so.
03:01 But he chooses to live in Maine and he writes about Maine
03:04 because this is what he knows.
03:06 He's been here his whole life.
03:08 All of his stories have a center in Maine.
03:11 And if he were to live somewhere else,
03:13 his stories would take on a different meaning
03:15 because it's a large state.
03:17 And if you drive through it, you can experience, like,
03:21 some of the horrors that he writes about in his stories,
03:24 some of the mystery elements of the state.
03:26 And it can be spooky.
03:28 It can be scary.
03:31 It can be dark.
03:32 But it can also be beautiful when you drive through
03:35 some of the towns that he writes about in some of his novels.
03:38 - He's a regionalist.
03:40 He writes about-- primarily about where he grew up
03:44 and where he lives.
03:45 And he knows that world so intimately.
03:47 And being that he's from the East Coast,
03:50 it is the oldest part of our-- of our history.
03:54 So he writes from that very American perspective
03:57 that's even not broadly American.
03:59 It's very specifically American.
04:02 - You know, just a tremendous storyteller.
04:04 And he was able to make volumes and volumes of work.
04:07 He was able to sit down and, you know,
04:10 and do--and just spit out these huge novels.
04:13 - He's--there's nobody like him.
04:15 There are plenty of people who pretend to be him
04:18 or to be influenced by him.
04:21 But he's the original.
04:23 Before him, Richard Matheson wrote horror
04:26 that took place at home
04:28 instead of in the Carpathian Mountains or 200 years ago.
04:32 Stephen King writes horror that takes place in your home--
04:35 in your hometown with the people you know
04:39 and that you are around all of the time.
04:41 He's not writing about the monster in the closet.
04:44 He's writing about the people who own the house
04:46 that has the monster in the closet.
04:48 And we're those people who live in that house.
04:51 And he's our ringmaster.
04:53 And it's--it's very American.
04:55 [glass shattering]
04:57 [screaming]
05:00 [thunder crashing]
05:03 [glass shattering]
05:06 [glass shattering]
05:09 [screaming]
05:12 [glass shattering]
05:15 [screaming]
05:18 - Stephen King is--is specifically an American author,
05:21 but I'm gonna go further and say he's a New England author.
05:24 He's a Maine author.
05:26 Stephen King is also--you know, he's an English teacher.
05:29 You know, he's well-read, and he understands history,
05:32 and he understands American history.
05:34 I can't imagine that those books would lack symbols
05:38 and allegories and references and metaphors.
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05:44 - Stephen King is imagination and creativity.
05:48 He's very unusual in his depth of thinking
05:54 and recreating life and images.
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09:02 - I wonder how much they'd pay for it up to college.
09:05 - He is the most adapted author in the world for films and TV
09:09 simply because the books that he writes about,
09:12 he writes it in everyday language.
09:14 It's--everyday people can read these books,
09:16 and understand it.
09:17 He doesn't use big words, complicated storylines.
09:20 He explains the backstories of people.
09:23 He writes about families, children very well
09:26 that you can--even if you have difficulty reading,
09:29 like I used to have, you can fall into his world,
09:32 and when it comes to an end, you're sad
09:35 because you don't want that world to end.
09:37 But when you pick up another book,
09:39 you find that similar characters are in the different stories,
09:42 the same settings again.
09:43 You're always going to be connected in his--
09:45 in the universe of Maine.
09:46 - I find the Stephen King universe much more interesting
09:50 than the Marvel universe, and more extensive.
09:53 It goes back a lot longer, and it goes much wider.
09:57 There are things that people don't notice
10:00 that come from the King universe
10:03 that cross-pollinate all of the works that--
10:07 unless you're a real King nerd,
10:09 you don't realize how far that goes.
10:11 But it's--it's pretty deep, and it's pretty specific.
10:14 And it's pretty wonderful.
10:16 [growling]
10:19 [dramatic music]
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10:30 [tires screeching]
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10:38 - And this may be where, because horror as a genre
10:42 isn't taken so seriously here,
10:44 is everyone--it's very easy to dismiss that.
10:47 It's like, "Oh, that's just fiction."
10:48 But they don't realize that, no, these are metaphors.
10:51 These are allegories for our day-to-day lives,
10:53 and the warnings that are there are real.
10:56 And if you ignore them at your own peril--
10:58 and I think that's what we've done.
11:00 We've ignored them, and we've put it aside
11:02 because no one takes horror seriously.
11:04 And that's a real shame
11:06 because he's been right about a lot of things.
11:09 - All books and movies are political.
11:12 They reflect the time in which they're--
11:14 they're made or written.
11:16 No greater genre to represent metaphor
11:19 for what's going on in the world.
11:21 You know, "Night of the Living Dead," 1968,
11:23 what we were going through with Vietnam
11:25 and with race relations, all of that is reflected there.
11:29 George Romero didn't necessarily intend all of that,
11:32 but I'm sure he recognized it once it was complete,
11:35 and he saw it.
11:36 - The creature is a metaphor for something else.
11:39 It's never just zombies.
11:41 The zombies are a metaphor for racism
11:43 or consumerism or greed.
11:44 And with Stephen King, it's like his--
11:47 every story is addressing a different facet
11:50 of the American dystopic nightmare, I guess.
11:55 - Stephen King is always reinventing society.
11:58 He's always looking at rebuilding the world,
12:02 whether it's under the dome where you're locked
12:05 into a particular community by an invisible dome
12:10 or in the stand where you're reinventing America.
12:14 I looked at that as an incredibly patriotic story,
12:19 and then it gives you the ideal
12:22 of what democracy was intended to be.
12:25 It was everybody helping one another.
12:27 Everybody was doing something to build a society
12:30 that intended to be a tight society
12:34 where people could help each other,
12:36 and you could look at the flag and feel pride in your flag
12:40 because of where it came from.
12:43 And so, yeah, there are often stories
12:46 where Stephen King is rebuilding an ideal society,
12:50 and I think that's incredibly important and exciting
12:53 and one of my favorite things about what he does.
12:55 - Look at this.
12:56 - Jesus, you--
12:59 my God, Lee!
13:01 Is this your idea of a joke?
13:03 [screaming]
13:05 [dramatic music]
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13:13 [sword clinks]
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13:20 - Come on, Lee!
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13:24 - And Stephen King's books are very sociopolitical.
13:28 They're very aware of their times.
13:30 He's very involved.
13:31 He's got a very active Twitter feed
13:33 where he rips the shit out of Trump constantly,
13:36 and deservedly so.
13:37 I mean, that's a worse monster
13:40 than anything Stephen King has ever written,
13:42 is Donald Trump.
13:44 - Stephen King is not afraid to express his opinion,
13:46 his feelings about things.
13:48 He's been very, very, very verbal
13:50 about his feelings about our president.
13:52 - He's speaking for a lot of us
13:54 that don't always know how to put our feelings into words.
13:58 Stephen King is so good at creating characters
14:01 and emotions, and he knows psychology so well
14:05 that he's able to articulate in his tweets
14:08 so much of what we're feeling
14:11 and our frustration that we have
14:13 with what's going on in our country right now.
14:15 I love reading 280 words of his.
14:18 I love reading 280,000 words of his.
14:21 His tweets have become just--
14:23 I always look forward to whatever he has to say.
14:26 - He's not afraid to go into those dark spaces.
14:28 He's not afraid to really critique
14:30 what's happening in society and do it with no holds barred.
14:33 I mean, he doesn't--he doesn't pull his punches.
14:35 When he goes for the jugular,
14:37 he cuts that jugular, and you bleed out.
14:39 [laughs]
14:40 [children screaming]
14:41 - He's very aware of--of the world around him,
14:45 and it's reflected in the plight
14:47 of the characters in his books.
14:49 Christine definitely is a reflection
14:52 of blue-collar America, middle America.
14:55 "The Dead Zone" was an amazingly prophetic book.
14:59 [chants en anglais]
15:02 - How you doing? Hey, how are you?
15:04 [chants en anglais]
15:06 Hey, thanks very much for coming. Good.
15:08 [chants en anglais]
15:11 [chants en anglais]
15:13 [explosion]
15:15 - It treats the subjects that it's dealing with seriously
15:19 and takes you on a journey that is horrific,
15:22 but has something to-- to really say about society.
15:25 You have the problems of religious bigotry
15:28 and what that does, not to armies of Muslims
15:31 and Christians all facing each other,
15:33 but what it does to the individual,
15:36 like the--the mother, and what it--and its effect
15:39 is on the tyranny of that repression
15:42 on another individual, which is Carrie.
15:45 And it deals with big ideas.
15:47 He deals with big ideas in a microcosm of humanity
15:51 so that we can understand and get the idea
15:54 right in the gut of what's been going on.
15:56 - He's showing the dark side of American society,
15:59 and that's very important, especially now,
16:02 because the dark side in American society
16:04 has grown much--much bigger than it ever has before,
16:07 I think, in the history of our country.
16:09 - You look at Carrie in particular
16:11 and--and just recently here in America,
16:13 in the last week or so, some of the laws
16:15 that have been passed that are coming from this very,
16:17 very Christian, very conservative,
16:19 right-wing political perspective,
16:21 and you're like, "Yeah, that's--that's Carrie's mother.
16:23 I mean, that was her upbringing."
16:25 - Yeah, you do see parallels of what he was writing about
16:29 and the things that are coming true.
16:31 Maybe he's a prophet. I hope not,
16:33 because some of the things he says
16:34 are really sad and depressing.
16:35 I would like to think that that's not
16:37 where we're destined to go.
16:39 [laughs]
16:40 [somber music]
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17:05 - Brandon Palmer's version of Carrie
17:07 is a--an iconic horror film.
17:10 It was very exciting, frightening,
17:13 and--and--and all the things that are underneath it
17:17 were very evident, like, for example, the bullying.
17:20 The girl who is--or boy-- who is always picked on
17:23 in the school and made to feel bad about themselves
17:27 suddenly is telekinetic.
17:31 Doesn't that change everything?
17:32 I mean, that changes-- suddenly, the society is changed,
17:35 because the person that you are picking on
17:37 and the weak and the feeble suddenly has a gun
17:41 and can kill you all, which is what Carrie--Carrie is.
17:45 So--so it appeals on a very visceral level, I think,
17:47 to all of us that have been in school and bullied
17:50 and doing the bullying and all of those things,
17:53 to--especially to younger people.
17:55 - He touches something so deep in the characters,
17:59 something so truthful, and something that you just
18:03 so can identify with, especially if you've ever been
18:06 the outsider, you know, if you've ever been the pariah.
18:09 And I was when I was in elementary school.
18:12 I was the kid everybody made fun of,
18:14 so that was super powerful.
18:18 You know, it just--that hit me like a ton of bricks.
18:21 - I had already been teased when I was younger
18:24 that I looked like a little Carrie
18:27 when I was a little girl, so I was terrified to see the movie,
18:30 and then when I saw it, I kind of liked it.
18:33 I found it very exciting.
18:35 I don't know why, but it was terrifying
18:38 and fun and exciting at the same time.
18:41 And I love that she got revenge like that.
18:43 [women screaming]
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18:56 [women screaming]
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19:01 - You know, a lot of coming of age
19:03 and just how scary that can be, I think.
19:05 Becoming an adult and then just really--
19:07 the supernatural sometimes is just an aside,
19:09 but it's just the evil that people can be.
19:14 - A lot of it is set in America,
19:16 but it's something that you could extrapolate
19:19 across all numbers of countries.
19:22 - I also think that the themes that he deals with
19:24 and the themes that he explores
19:26 can equally well be explored and written about
19:29 and filmed in other languages
19:33 and in other countries.
19:35 - Storytellers like Stephen King
19:37 and cinematic storytellers like myself
19:39 always have a chance to create
19:41 what we call cautionary tales.
19:43 They're cautionary tales about human nature,
19:45 cautionary tales about what--you know, power,
19:48 how power corrupts and ultimate power corrupts absolutely.
19:51 And Stephen King was always dealing with
19:54 the nature of human power,
19:55 whether it be supernatural or psychological
19:58 or just power in a political sense.
20:00 And so by merging those things together,
20:02 he's actually making a critique on society,
20:06 which I feel has greater effect
20:08 than most other kinds of critique,
20:10 because it's a popular form of critique.
20:12 It's a genre that goes out there,
20:14 and the common man, the common person,
20:16 is able to absorb that critique
20:18 and understand it deeply within themselves
20:21 because of how good a writer he was.
20:23 - No bad dreams.
20:26 - No bad dreams.
20:30 [dramatic music]
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20:42 - Like he's held onto that child in bed
20:45 with the covers pulled up,
20:46 and the closet door is just partially open,
20:49 and you know there's a monster in there,
20:51 but logically, you know your dad checked it,
20:53 and it isn't, but there's something that you feel,
20:56 and then now you feel like maybe it's under the table
20:59 or under the bed, maybe you're wrong,
21:01 and he can evoke that just basic fear of the unknown,
21:06 you know, and, you know, there's an innocence there.
21:09 It's like you want to be logical and feel grown up,
21:12 but then there's that little child, you know,
21:14 the one that gets lost at a store
21:16 and can't find his parents.
21:18 It's, you know, it's the kid that watches his parents go off
21:21 and become something else.
21:23 He captures just in his work the essence of that--
21:27 of family and separation, and you're on your own,
21:31 and how you're going to figure it out,
21:33 you know, identification, you know,
21:35 that that's me up there, that's how I'm going through that,
21:38 or that--I remember that when I was a little boy.
21:40 - "Stand By Me" is one of my favorite movies of all time.
21:43 It's not a horror movie per se,
21:45 but it's something that really reflected my youth
21:49 and things that I felt,
21:51 and even the things that were in that movie
21:53 that weren't similar to things I felt,
21:55 I believed them because they felt so real to me.
21:58 There's also something about a shared experience.
22:01 That time of maturation sticks with you
22:04 for the rest of your life.
22:06 If you're bullied when you're 16 years old,
22:08 you remember it when you're 30, when you're 40,
22:11 and all of those things, he's able to remember
22:14 the things that were important.
22:16 His story, "The Body," which became "Stand By Me,"
22:19 is so potent.
22:21 This was something that happened to him, you know,
22:23 discovering a dead body by a train track.
22:27 And that's something potent
22:29 that nobody who's 13 years old should see,
22:33 should be exposed to, should experience.
22:36 But, you know, he knows how to hold on to that
22:40 into adulthood the way that all of us do.
22:43 You know, we overcome our fears,
22:45 but they still have roots deep inside of us
22:48 and can be tapped, and he's the guy who can tap them.
22:51 He taps into what we all worry about
22:55 and what we all fear and what we all are...
23:00 And he gives us solutions to those fears.
23:03 Stephen King personifies, personifies
23:06 the things that we dream about, like, are troubled with.
23:10 I mean, Pet Sematary is a perfect example.
23:13 How do we resurrect not only our pets, but ourselves?
23:16 How do we use those kinds of things
23:18 that we think about and talk about?
23:20 And he goes straight at it
23:23 from the inside of normal people.
23:26 So he puts his finger exactly on those things
23:30 and brings them to life for us.
23:32 And the great thing about his work is, we recognize them.
23:36 In some places, some horror films,
23:38 we don't recognize the crazy, ah, whatever they're doing
23:41 and everything, but Stephen King's,
23:43 we know what he's talking about.
23:45 He appeals directly to us, viscerally.
23:48 So that, to me, is his greatness as a creator.
23:52 (crickets chirping)
23:54 (thud)
23:55 Come on, Doc!
23:57 We've got places to go.
23:59 Stephen King's book talks about the nightmares
24:06 that face everyday people, because we do live in a world
24:10 that there are nightmares all around us.
24:13 And we live in a society where there are people
24:16 that commit heinous acts of violence are far, far worse
24:20 than anything he ever writes about in his novels.
24:23 So his books are tamer than what we actually have
24:26 to live in every day over here.
24:28 - Well, you know, when you take an icon
24:30 of something that's supposed to be childlike and innocent,
24:33 like a clown, and you make it dark,
24:36 it becomes even more frightening.
24:38 So it was very, I think, clever of Stephen King
24:42 to take a clown and make that clown a demonic,
24:45 a demonic energy, a demonic character.
24:48 And by experiencing, by expressing it as a clown,
24:51 he was able to draw children.
24:53 So any time you have this combination
24:55 of childlike innocence and darkness at the same time,
24:58 like the exorcist, as an example,
25:00 a young girl who becomes possessed by a demon
25:03 or a demonic clown that comes out of the sewer
25:06 and draws children in,
25:08 that's one of the most terrifying things you can do.
25:10 You're taking an icon and switching it
25:13 in its own polarity, 180 degrees,
25:15 and that's what makes that clown so terrifying.
25:18 - There's kind of a tradition in America
25:21 to see clowns as evil characters.
25:24 And I remember taking my 5-year-old son
25:28 to Cirque du Soleil,
25:30 and there were all these white clowns.
25:33 They were all completely white, white faces, everything.
25:36 And we had to go home because he was just too scared.
25:41 So... [laughs]
25:43 So clowns in America
25:46 are very ambivalent in their meaning.
25:50 - In the U.S., we had a history of a serial killer
25:54 by the name of John Wayne Gacy
25:56 who dressed up as a clown to perform at children's parties,
25:59 and he ended up killing, I think,
26:01 three dozen children dressed as a clown.
26:05 So maybe part of that reason
26:07 is that clowns have always been associated
26:09 with, like, terror and violence.
26:13 - Maybe in France, you don't have as many serial killers,
26:16 but when you see pictures of John Wayne Gacy
26:19 sitting with children on his lap
26:21 and you know that he's a murderer,
26:23 that kind of starts to shift it a little bit over.
26:26 Thematically, I think it's embedded in human beings
26:29 to kind of understand and expect
26:32 that you never win against evil, totally.
26:35 You beat it back and you drive it away,
26:37 but it comes back, and it always comes back,
26:40 and that is the human condition.
26:42 We will always be battling some negative force.
26:46 And what's brilliant about Stephen King
26:49 is that he can personify it into one character,
26:53 and he shrinks it down to a microcosm
26:56 of a group of friends, you know?
26:58 So he personalizes it,
27:00 and I think that's one of the amazing things
27:04 about Stephen King's work.
27:06 You're only as good as the characters on screen
27:08 that you care about,
27:10 and making sure that the villains
27:12 are really a good villain
27:14 so that it makes it that much more difficult
27:16 for the hero, you know, to get past those problems
27:19 that the villain puts in front of you
27:21 and the challenges that you have to face.
27:23 And obviously, the good story is very cathartic, you know,
27:26 and either you win, but just for now, you know,
27:29 or you win altogether.
27:31 And I think the best things are the knowledge that,
27:34 "Okay, today I did it, tomorrow I don't know,
27:37 but today I did it."
27:39 So I think in many of his stuff, he has that sense of closure,
27:42 but maybe not forever, but at least for now.
27:45 You are Georgie.
27:48 So now we know each other.
27:50 Mm-hmm.
27:51 He right?
27:52 I guess so.
27:54 I gotta go.
27:55 Go?
27:56 Without this?
27:58 With my coat!
28:00 Exactly.
28:02 Go on, kiddo.
28:04 Take it.
28:06 Oh!
28:10 You want it, don't you, Georgie?
28:13 Oh, of course you do.
28:15 And there's cotton candy and rides
28:17 and all sorts of surprises down here.
28:20 And balloons, too.
28:22 All colors.
28:24 Do they float?
28:25 Oh, yes.
28:27 They float, Georgie.
28:31 They float.
28:34 And when you're down here with me,
28:38 you float, too!
28:41 (screeching)
28:43 Pennywise is a malevolent spirit
28:47 who is trying to lure children in.
28:50 He would not only look like a clown,
28:52 but he would look like a child as well
28:54 to put them at ease and to trick them.
28:57 It's the Stephen King world
28:59 and everything just beneath the surface.
29:01 You scratch and there's something rotten
29:03 and decrepit underneath it.
29:05 He had us add all this texture
29:07 that looks like cracking, peeling.
29:09 Is it makeup or is it the skin or what is it?
29:13 Life is much scarier than death.
29:15 King experiences those fears for us.
29:18 Entertainment is a really great therapy
29:21 because we can experience our fears safely,
29:24 whether it's in books or in movies.
29:27 Everybody talks about the metaphor
29:29 of the roller coaster.
29:31 You get on it and you're scared shitless.
29:33 But you come off it safe and you've gone through it
29:36 and you've faced your fear.
29:38 The scariest thing in the world
29:40 is not a giant monster.
29:42 It's not, you know, a psycho serial killer.
29:45 It's what happens to the people you care about,
29:49 your loved ones, when they face death,
29:52 when they face illness,
29:54 when they're hit in a car accident,
29:56 something that happens to them.
29:58 That is my greatest fear,
30:00 is what's happening to the people around me
30:03 that I care about, much more so than what happens to me,
30:07 and certainly more than a big rubber monster
30:10 or a big CG monster, even worse.
30:12 (train whistle)
30:14 (train whistle)
30:16 (train rumbles)
30:18 I don't want to be with somebody!
30:21 Where's Gage?
30:23 Gage!
30:25 (train whistle)
30:27 Gage!
30:29 (train whistle)
30:31 (train whistle)
30:33 (train whistle)
30:35 (train whistle)
30:37 I love the scary movies.
30:39 I think he's a very intelligent man
30:41 and I've watched him since I was a child.
30:43 My favorite had to be It.
30:45 As many as I can, I've really gotten into Audible,
30:48 so I walk around at night with my dog
30:50 at 10, 11 o'clock at night listening to Stephen King books.
30:53 They're very enjoyable, especially in the dark.
30:57 (train rumbles)
30:59 (train whistle)
31:01 (train rumbles)
31:03 (train whistle)
31:05 (train rumbles)
31:07 (train whistle)
31:09 (train rumbles)
31:11 (train whistle)
31:13 His early writings were primarily horror and fantasy.
31:17 He got sort of stuck as a genre writer,
31:20 as a writer of horror,
31:22 but to me, some of his straight short stories,
31:25 like Shawshank Redemption or Stand By Me,
31:28 which was originally called The Body,
31:30 or, you know, some of his early work, Misery,
31:34 which doesn't rely on anything supernatural
31:37 or horror in the conventional sense
31:39 of monsters and things like that.
31:41 His ability to tell stories that dealt with
31:44 the inner nature of human psychology
31:46 and the inner nature of supernatural effects
31:49 and all of those aspects
31:51 makes him one of the most unique genre writers in history,
31:55 but he was also writing for popular audiences.
31:58 He always knew what was going to work
32:01 with an audience in terms of their emotion
32:04 and where the characters would go
32:06 and to create a rooting interest for his protagonists
32:09 and even for his antagonists sometimes.
32:11 Sometimes you love his antagonists
32:13 just as much you love the protagonists,
32:16 and for me, as a filmmaker,
32:18 what I try to do is kind of follow the tenets of that,
32:21 of his storytelling,
32:23 in the context of making The Lawnmower Man.
32:26 [wind blowing]
32:28 [wind blowing]
32:31 [thud]
32:33 [grunting]
32:35 - Fuck! - Shit!
32:37 [panting]
32:39 Shit! God! Get away!
32:42 [grunting]
32:44 [grunting]
32:46 [panting]
32:48 [grunting]
32:50 [yells]
32:52 [panting]
32:54 God!
32:56 Shit! Shit! Shit!
32:58 Okay! Okay!
33:00 - Le Cobaille, or The Lawnmower Man,
33:02 as it was called in the United States,
33:05 was a short story by Stephen King
33:07 from his Night Shift collection,
33:09 this short story by Stephen King,
33:11 which was seven pages long.
33:13 So it's a seven-page short story
33:15 about a sort of spiritual, supernatural man,
33:19 the Lawnmower Man, who wreaks revenge
33:22 on his abusive father
33:24 with a telekinetically controlled lawnmower.
33:26 He mows him down in his own house.
33:28 I wanted to create a film
33:30 that had within it this concept of virtual reality,
33:34 because I had just been shown the actual technology
33:37 by a man named Jaron Lanier,
33:39 who actually coined the term "virtual reality,"
33:41 and I thought, "This is an amazing idea
33:44 for a science fiction film,"
33:46 and I really wanted to make a science fiction movie.
33:48 But they wanted to make it connected
33:51 to Stephen King's short story.
33:53 So I worked on the film,
33:55 I worked on a script with my partner, Jamil Everett,
33:58 and we wrote a script that had that short story,
34:01 but all the rest of it was created from whole cloth.
34:04 All the rest of it was an original idea
34:07 around this technology of virtual reality
34:09 and kind of a Frankenstein story
34:11 of a man being transformed
34:13 by virtual reality experimentation
34:15 by the Pierce Brosnan character, Dr. Angelo.
34:18 - Hollywood probably is obsessed with Stephen King
34:21 for business reasons.
34:23 It is inescapable.
34:25 He obviously had an extraordinary effect on, um...
34:29 on Hollywood.
34:31 - I went through a period where Stephen King
34:34 was the premier person to go to for your next movie,
34:39 and they optioned so many of his books,
34:43 so many of his short stories,
34:45 and it almost became oversaturated, too much,
34:49 and it started to not work,
34:51 and a lot of the TV movies
34:53 just were not as successful, you know,
34:55 because there was just too much of it.
34:57 People felt like, "Okay, we've got that."
34:59 So then there was kind of a period where, you know,
35:02 we didn't see anything for quite a long time.
35:05 Now, obviously, he's become bigger than ever.
35:08 He's creating TV series, you know,
35:10 that work with all his sensibilities there.
35:13 - One Sunday afternoon, the phone rings,
35:15 and I pick up the phone, and I--
35:18 "Bret, Steve King here."
35:20 "What? Who's-- Really? The real--
35:22 "Yes, this is really Steve King.
35:23 "I'm in Bangor, Maine,
35:25 "and I'm gonna go show my family your film.
35:27 "We have a print here at the theater.
35:28 "We're gonna go watch it.
35:29 "I'm gonna call you after
35:30 "and let you know what I think of it."
35:31 Click. Oh, no.
35:32 So that's the-- the worst two hours of my life
35:35 waiting for Stephen King to call back.
35:37 He called back and said he liked the film very much,
35:40 but he said, "I'm gonna sue the producers
35:42 "because they're marketing the film
35:44 "as from the mind of Stephen King,"
35:46 and he successfully did that.
35:48 [applause]
35:51 - So give us your report, Craig.
35:54 Tell us how much money you made for us.
35:57 - You wanna know how much money I made for you?
36:00 You wanna know how much money I made for you?
36:02 - Yeah.
36:03 - Adaptation is a very difficult thing.
36:06 I think you do have to kind of kill your darlings,
36:09 as they say, in the context of adaptation.
36:11 In order for a literary work
36:13 to be adapted into a cinematic work,
36:16 cinema is an audiovisual language,
36:18 and so it's a very, very different medium,
36:21 and so I think you do have to radically adapt
36:25 a literary work in order for it to work cinematically.
36:28 Well, for me, look, I love Stanley Kubrick,
36:31 so I love "The Shining"
36:33 as an example of a great adaptation of his work.
36:35 Stephen does not.
36:36 He's very critical of it,
36:38 and I understand that because it went so different
36:40 from his plot structure,
36:42 but I think it achieved the feeling
36:45 that Stephen King wanted in the book,
36:47 so I love that adaptation.
36:49 - King did not like the Kubrick adaptation.
36:52 King's work is very warm.
36:54 Kubrick's work is very cold.
36:56 It's very precise and technical
36:59 and about the movie and the cinema
37:02 more than it is about emotions,
37:05 and King's work is very emotional,
37:07 and that book in particular
37:09 is one of the most personal to him.
37:11 It's about alcoholism.
37:13 It's about feeling guilt,
37:15 feeling violence toward your child,
37:17 your innocent child,
37:19 all of these things,
37:20 themes that were important to the book
37:22 and to King that were disregarded
37:24 in the Kubrick film,
37:26 so as I have taken to say,
37:28 I think the film is a great Kubrick film
37:31 and a terrible Stephen King adaptation,
37:34 so that was difficult,
37:36 but I didn't think about it at the time
37:39 because all I thought about,
37:41 we're making this script that King wrote from his book
37:44 that's incredibly personal to him,
37:46 and doing that,
37:47 I never once thought about the Kubrick film
37:50 while we were making the miniseries.
37:52 - Kubrick's Shining is very different
37:54 from Stephen King's Shining,
37:56 but I think that happens in any adaption.
37:59 I mean, they both have their own...
38:01 But, you know, they're built very much on the same model,
38:04 the same very simple jewel of the story,
38:06 which I think is why it's so appealing.
38:08 I mean, it has a fairy tale kind of simplicity.
38:11 A mom, a dad, and a little boy
38:13 go to a frozen hotel, an ice palace,
38:16 and, you know, while they're secluded,
38:18 all sorts of demons and ghosts emerge,
38:21 some of them from the supernatural,
38:23 but others arising from their own personalities
38:26 or their own histories.
38:28 I mean, it's an incredibly simple
38:31 but really, really driving and compelling narrative,
38:35 and I completely can understand
38:37 why Kubrick would be attracted to it,
38:40 but he'd also, you know, put his own obsessions,
38:43 interests, fascinations into it.
38:45 - His books, while some of them in the past
38:47 have been difficult to adapt to the screen
38:49 because they're such large novels
38:52 that they're such back story
38:54 that can't be really interpreted well onto the screen.
38:57 Most movies today, they are an hour and a half.
39:00 You have to tell a lot of the story quickly,
39:03 and Stephen doesn't write quickly.
39:05 He writes in detail, so it's difficult
39:07 to put his novels successfully onto the screen,
39:11 but many have.
39:12 - TV versus feature films,
39:14 they're very similar, and yet they're very different,
39:17 especially commercial television.
39:19 The way we did "The Stand" and "The Shining" as miniseries,
39:22 you have an act, then you have to break for commercials,
39:25 then you have to start over with another act
39:27 and break for commercials again.
39:29 You know, two hours in, you have to break
39:31 and then wait until another day or two later
39:34 for part two, part three.
39:36 But it does give you the opportunity
39:39 to fully tell a story,
39:41 so that it's not as superficial as a movie might be.
39:44 When you've got a book,
39:46 well, "The Stand" was 1,100, 1,200 pages long.
39:49 The version we did, the original version,
39:52 was 900 pages long,
39:54 but we had eight hours of television to do it,
39:57 whereas a feature film is maybe two and a half hours.
40:00 Unless you're an Avengers movie, then it's three hours.
40:03 King liked to call the miniseries a novel for television,
40:07 which was a great way to put it,
40:09 because you can tell it in chapters
40:11 and you tell it taking the time that it needs to tell.
40:15 Hi.
40:16 My name is Stephen King.
40:19 I've written several motion pictures,
40:22 but I want to tell you about a movie
40:25 called "Maximum Overdrive,"
40:27 which is the first one I've directed.
40:29 Wow!
40:32 (cris de surprise)
40:34 (cris de surprise)
40:36 What in the dickens is going on around here?
40:39 A lot of people have directed Stephen King novels and stories,
40:43 and I finally decided if you want something done right,
40:46 you ought to do it yourself.
40:48 I would love to see Stephen King direct again,
40:51 because I know he has the sensibility
40:53 and his screenwriting is really good,
40:55 and not all fiction writers are good screenwriters as well.
40:58 They're very different disciplines.
41:00 But with "Maximum Overdrive,"
41:02 he had a lot of things going against him.
41:05 He was working with a crew that spoke Italian
41:08 at Dino De Laurentiis' studio,
41:10 and he doesn't speak Italian.
41:12 There were a lot of issues that were problematic,
41:16 and his life at that time was complex,
41:19 and there was, you know, substance abuse going on.
41:22 This was before he became a member of Alcoholics Anonymous.
41:26 He was still indulging.
41:28 I don't know that he was doing it during production,
41:31 but it was a period of time during his life
41:34 when he was indulging.
41:36 And I think he has a great filmmaker's sensibility,
41:39 and I would love to see him do it now,
41:42 that he's not dealing with those demons
41:44 that he was dealing with at the time.
41:46 (car horn honks)
41:51 Honey! Come on over here, sugar buns!
41:57 (car horn honks)
41:59 This machine just called me an asshole!
42:02 My earliest memories of Stephen King
42:04 are actually of his movies, not his books,
42:07 because when I was a girl growing up
42:09 in Wilmington, North Carolina,
42:11 that's where they were filming all of the Stephen King movies
42:14 back in the 1980s.
42:16 They filmed "Firestarter" and "Silver Bullet"
42:18 and "Maximum Overdrive" were all filmed in my hometown,
42:21 and everyone I knew in high school was reading his books,
42:24 and so there was very much a Stephen King...
42:26 The whole town was very much all about Stephen King
42:29 and we were all consumed by it.
42:31 And I think I learned...
42:32 That was my first real exposure to Stephen King,
42:34 was having these movies made
42:36 and then going back and reading the books after the fact.
42:39 So everyone in my high school was reading Stephen King.
42:41 It was just like Stephen King mania
42:43 had kind of consumed the entire town,
42:45 but it's because everywhere we went, there it was.
42:48 (rock music)
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42:55 ♪ ♪ ♪
42:57 ♪ ♪ ♪
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43:15 - Rock and roll is really important to him.
43:17 He writes with rock and roll blasting really loud.
43:20 I could never do that.
43:22 But he loves that.
43:23 And he's a big, you know, AC/DC was one of his favorite bands,
43:26 which is why he hired them to do the music
43:29 for Maximum Overdrive.
43:31 - Stephen King also loves to play the guitar
43:34 and occasionally sing.
43:36 He formed a group with other authors
43:39 called the Rock Bottom Remainders, I believe, in '92.
43:42 And they still are doing concerts to this day.
43:45 And he has always loved music,
43:47 and in a lot of his books that he writes about,
43:51 you can always hear the bands that he talks about--
43:53 AC/DC, Anthrax.
43:55 He'll bring up a lot of music into his books.
43:58 So when a radio station in Bangor was for sale,
44:02 he purchased it and kept it.
44:04 And it's one of the few places in Bangor
44:07 that actually has his name on it.
44:09 It says Stephen King's Radio Station on the sign.
44:12 ♪ ♪
44:14 ♪ ♪
44:16 ♪ ♪
44:19 ♪ ♪ ♪
44:21 - For me, the first book--
44:23 the first movie adaptation I saw was Christine,
44:25 which I think was "The Haunted Car."
44:27 And that was pretty cool, 'cause that was way back in the '80s.
44:30 And of course, then he put out Maximum Overdrive, right?
44:33 Do you remember Maximum Overdrive?
44:35 So, I mean, you know, when I grew up,
44:37 the cars and the technology was killing everybody, right?
44:40 - He's given so much to the community.
44:43 And a lot of his films have been filmed right around here.
44:48 And in the cemetery and at the airport.
44:51 And he's been...
44:53 he's captured everybody's imagination around here.
44:57 And so he's been very good for our community.
45:01 He's been a good representative.
45:03 - When we first started this ministry serving the poor
45:06 and the needy in this community and the homeless,
45:08 I knew that Stephen King had a heart
45:10 for the people in this community, so I gave him a call
45:12 and said, "Can you help us?"
45:14 I wrote them this long, eloquent letter.
45:17 And he sent it back to me,
45:18 correcting all my grammar and all my spelling,
45:20 and said, "Denied."
45:22 So I sat down and wrote another letter, just very simple.
45:25 "Dear Stephen King, can we have $5,000?"
45:27 And he wrote back with a check and said,
45:29 "Thank you very much." It was fantastic.
45:31 And then he started dropping his son off
45:34 at my soup kitchen once a week.
45:36 His son could learn what the soup kitchen is all about.
45:39 And now his son writes his own books,
45:41 if you remember that.
45:44 - There's something very human and relatable
45:47 as a person that he is, you know?
45:50 It's something very humble and very confident
45:54 in that he knows what he's doing.
45:57 He's not crazy insecure, you know?
46:00 He understands family, he understands life.
46:03 You know, he's generous in that if there's a story
46:06 that somebody wants to option, he'll do it for a dollar,
46:09 you know, to let young filmmakers have a chance
46:11 and work at certain things.
46:13 And there's a lot of, you know, young student directors
46:16 who've had a shot to do a Stephen King story
46:18 purely because of that rule.
46:20 Who does that? I mean, nobody.
46:22 So it's like he's very unique and very, very giving
46:26 and very supportive of the, you know, the world, period,
46:29 much less just the horror world, you know?
46:32 He knows what scares us because he knows
46:34 what we're like as humans.
46:36 - I was aware of the Stephen King Dollar Baby program
46:39 for several years, but it wasn't until recently
46:42 that I thought it might be a good fit for me
46:44 because I had directed a couple of short films
46:47 and I wanted to tackle something a little bit bigger.
46:50 And I knew going back-- you know, Stephen King
46:53 has so many wonderful stories to choose from,
46:56 and so we went to the Dollar Baby website.
46:58 And the way that the Dollar Baby program works is he will--
47:01 if you are an upcoming filmmaker,
47:03 he'll let you option the rights
47:05 to one of his stories for a dollar.
47:07 But the selection of stories is constantly changing,
47:10 so you go on the website and there will be
47:12 20 stories you can choose from,
47:14 and you go back a year later and they're very different stories.
47:17 They're always changing.
47:19 And so I had been trying to find one
47:21 that I thought we could shoot within a reasonable budget,
47:24 that I would have access to the cast and the crew,
47:27 and over the summer I was talking to a friend of mine
47:29 and he's like, "You should really check out this short
47:31 called 'In the Death Room.'"
47:33 And he had recommended it.
47:34 He was a big Stephen King fan and I read it
47:36 and I was like, "Oh, yeah, this one I could totally do.
47:39 This is one that we could do with the resources that we have."
47:42 (cris de joie)
47:45 (cris de joie)
47:48 (explosion)
47:50 (explosion)
47:52 Change from childhood to adulthood
47:55 isn't immediate, it's gradual.
47:57 And it's when you become who you are.
48:02 When you are becoming an individual
48:06 is at that time of early teen years
48:10 through your late teen years,
48:12 it's also a very frightening time.
48:16 When you're 15, 16 years old,
48:18 you're not sure of everything yet
48:20 and things are changing and you don't know
48:22 what you can trust and what you can't.
48:24 And I think that is one of the reasons
48:26 that horror films are so adopted by teenagers.
48:32 For one thing, they don't think about mortality
48:35 and so they enjoy seeing a gruesome death
48:40 or a monstrous death
48:42 or a rending of flesh and blood and the like.
48:45 They don't think about whistling past the graveyard
48:47 because they don't know what death is
48:49 and they are not anticipating it.
48:52 So there's a gleefulness about horror
48:55 when you're a teenager.
48:57 The film, You Can't Kill Stephen King,
48:59 it's a spoof, it's a comedy,
49:01 and what can I tell you about it?
49:03 It's got so many different references
49:05 to all of Stephen King.
49:07 It plays beautiful homage to him
49:09 and they're looking for him.
49:11 They arrive in Maine looking for Stephen King
49:14 and Ronnie Kalil, one of the directors,
49:16 he's just a big fan of Stephen King's
49:18 and he references so many obscure novellas
49:22 and short stories that I have not even heard of.
49:26 But it's a very entertaining film.
49:29 Why don't you join us down here?
49:31 Everyone floats.
49:33 Down here, we all float.
49:36 (laughing)
49:39 But it also is a current fascination with the '80s.
49:43 People who were children in the '80s
49:46 had cultural touchstones that Stephen King fed to them
49:50 when he wrote that book at that time.
49:52 And with Stranger Things and things like that,
49:55 the feeling of it set in that time period
49:59 is something that people identify with,
50:02 particularly people of the age who go to movies.
50:05 You know, a lot of demographics
50:08 don't go to movie theaters anymore.
50:11 In general, in the way that other filmmakers
50:14 like Stephen Spielberg has influenced
50:16 the entire business of Hollywood
50:19 and the artistic side of Hollywood,
50:21 and before him, Cecil B. DeMille,
50:23 I think Stephen King is definitely going to be viewed
50:27 by history as one of the most influential artists in Hollywood,
50:31 even though he doesn't look on himself as a filmmaker.
50:34 He considers himself a novelist, first and foremost.
50:37 Stephen King and his stories will be adapted forever
50:41 into cinema, into television, because they're iconic
50:44 and they're archetypal stories about the human soul.
50:48 And whenever you express that, both in dark and light,
50:51 you have something that resonates for humans throughout history.
50:55 I think Stephen King did influence
50:58 not only directors but writers in Hollywood,
51:01 and not just with direct adaptations,
51:03 because obviously if you do an adaptation
51:05 of a Stephen King book,
51:07 whether it's Carrie or It or The Shining or Needful Things,
51:11 you're going to be influenced by the master,
51:14 by the author of the book, and you should be.
51:16 But I think he's also influenced the entire genre
51:19 of character-driven horror, of mystery and thrillers
51:24 in a way you can view Needful Things as a thriller,
51:28 as a psychological thriller, as much as a horror story.
51:31 It is amazing how many people,
51:33 really esteemed horror film directors,
51:35 have worked with Stephen King.
51:37 You've got Tobey Hooper, you've got John Carpenter,
51:40 you have Tom Holland, you have George Romero.
51:44 All of these people who've worked with him
51:47 and adapted his stories,
51:50 yeah, how could you not be influenced by Stephen King
51:53 if you are in the horror genre?
51:55 I think he's by far the most influential character there is
51:59 as a creator, as a writer, as a screenwriter,
52:03 as a producer, whatever.
52:05 His stories have infested and infected the horror genre
52:10 from the time he started.
52:12 From the time Carrie was published in, what, 1975 or '76?
52:16 There hasn't been any downtime.
52:19 He threatened to retire.
52:22 He said he wanted to retire years ago,
52:25 and he just can't do it.
52:27 It's in his blood.
52:29 Writing is like breathing for Stephen King.
52:32 And for people like me,
52:34 who are captivated by stories of the autrées,
52:37 how could you not have a life that included Stephen King?
52:41 He's an amazing man.
52:43 I would love to pick his brain
52:45 and find out what's really going on in there.
52:48 But he's very humble also.
52:50 He's so many things.
52:52 Stephen King is...
52:55 my hero.
52:57 That's just it, yeah.
52:59 Keep writing, brother, and keep rockin' and rollin'.
53:02 He loves music, and he loves the rock and roll,
53:05 and he loves the blues.
53:07 Keep on writing and keep on playing.
53:09 That's it.
53:11 (laughs)
53:13 ♪ ♪
53:15 We have reached the end of our story.
53:18 I hope you will be able to sleep
53:22 and have a restful night,
53:25 and I wish you well.
53:27 ♪ ♪
53:30 ♪ ♪
53:33 ♪ ♪
53:36 ♪ ♪
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53:50 ♪ ♪
53:53 ♪ ♪
53:56 ♪ ♪
53:58 ♪ ♪
54:00 ♪ ♪
54:02 ♪ ♪
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54:06 ♪ ♪
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54:14 ♪ ♪
54:16 ♪ ♪
54:18 ♪ ♪
54:20 ♪ ♪
54:22 (laughs)
54:24 [Rire]