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Stephen King Talks Dark Tower, Plus a Tour of King’s Maine

Chris Parker



Stephen King Talks Dark Tower, Plus a Tour of King’s Maine


Stephen King Talks The Dark Tower, Plus a Tour of King's Maine

Stephen King talks to us about The Dark Tower

It’s been nearly 40 years since “The Gunslinger,” the first story in Stephen King’s magnum opus “The Dark Tower,” was first published. Now the saga of Roland, Jake Chambers and The Man in Black has come to life on the big screen this weekend in Sony Pictures‘ The Dark Tower, starring Idris Elba as Roland (the last gunslinger) and Matthew McConaughey as Walter (The Man in Black). We had the opportunity to take a tour of King’s hometown of Bangor, Maine where we saw sites that inspired (and were inspired by) King’s work, and then got to sit down and talk to the man himself. You’ll find the interview below the tour gallery! Did you ever think this would happen?

Stephen King: I never really thought about it that much. I mean, there were times when people would express an interest in it and then they’d go away again. Interest came back over time after Peter Jackson’s success with the “Lord of the Rings” movies. It never seemed like a “movie movie” idea as complex and long as it is. They’ve done a wonderful job here of telling a story that’s coherent and has all the elements of the novel “The Dark Tower.” The purists may not like it. I can’t tell about that for sure, because it doesn’t start where the books start, but at the same time, I could follow it anyway because I knew exactly what’s going on. I don’t think about that, I think about writing the next book. I’m more interested in the next thing than the last thing.

CS: Having seen the movie the other day it was kind of like the whole “Dark Tower” series thrown into a blender. Is it like being able to look at the series through fresh eyes for you?

King: Yeah. It is. And there’s so many things in the various stories, the plots are fairly complex and the characters interact and they go back and forth. I think that Akiva Goldsman, who wrote the screenplay, picked out what seemed to him to be the most accessible and human relationship kind of thing between this old guy, Roland, who’s been around for a long, long time, and the kid. And they had a wonderful chemistry when they were doing the show. And it comes through on the screen. So yeah, I mean, they had to make some decisions. Some of those decisions are related to telling a story that the general public will get, not just the the hardcore “Dark Tower” fans, the guys who show up at the fantasy conventions with Roland tattooed on their heads, something like that. So they want to get to those. You have to keep in mind that of all the books that are written, the fans of the “Dark Tower” books are the most zealous, the most fervent fans of all. But they make a small subgroup of the people who read books like “The Shining” or “Misery” or that sort of thing. So you know, they’re an acquired taste. They’re fantasy.

Roland (Idris Elba) in Columbia Pictures' THE DARK TOWER.

CS: I hate to ask you, because the film actually got negative feedback when Idris Elba was cast as Roland, what do you say to those people and what’s your response to the casting of the two primary leads?

King: Well, what I said in a tweet after all that discussion started was I didn’t care what color he was, as long as he could command the screen, draw fast and shoot straight. So it doesn’t make any difference to me, because I don’t even really see people when I’m writing because if I’m writing about a character, I’m behind their eyes, you know? Unless they walk by a mirror or something, I don’t even really see what they look like. But what really sort of made it an issue in my mind, when they cast Idris as Roland was, all of those books were illustrated to start with, those Grant novels were all illustrated. And in all those pictures, Roland is a white guy, and I never thought about that one way or another. But obviously, that became part of the mindset. But you know, it’s weird, isn’t it? Why shouldn’t he be black? Why couldn’t he be a black guy to do this? It’s like, you know what’s weirder than that? You see this show “Game of Thrones” and Westeros, they’re all British. They’re all British. I mean, Westeros is basically England, right? And nobody ever questions that. So I mean, to me, the idea that a black man would play Roland is minor compared to that.

CS: Do you hope he has a hat in the next movie?

King: It’s funny, isn’t it? Trade secret, in a lot of the pictures, not only is he white, he’s wearing a hat in most of those pictures. And I talked to the producers of the movie about that. And they said that in Western movies where the main character wears a hat don’t do well at the box office. And I said, “Really? Well, Denzel wore a hat all the way through ‘The Magnificent Seven.’ And that did pretty good at the box office.” But they don’t pay attention to that.

CS: A lot of this movie takes place on Keystone Earth, so it would be kind of silly if he was walking around New York looking like Crocodile Dundee.

King: Oh, I don’t know. I mean, have you been to New York lately? (laughs) I mean, they have a guy in Times Square that’s called the Naked Cowboy.

CS: Do you think you’ll ever go back to this world, fill in more of Roland’s backstory, write another “Dark Tower” book?

King: I’ve thought a lot about those characters in the last year or so, because they were making this movie. Actually, the last two or three years, because I had a lot of meetings with Ron Howard, who’s one of the producers and was very instrumental in bringing it to the screen. So I thought about them a lot then. I thought about them again when I did the “The Wind Through the Keyhole,” which was kind of a postscript to the books. And the funny thing about it is, I’m usually all about the next thing. And that’s why, you know, somebody was asking me at dinner, “Are you all bound up in the success or failure of this movie and the other movie?” And the answer is, no. The books are there. The books are done. And that’s sort of where my focus is. But when you do come back to them, like I don’t know. I wrote “The Gunslinger” around 1970, and years went by. I mean, it was after “Pet Sematary” that I wrote the second one, because people asked for it. And then, a couple of more years later, the third one. And then, there was a long stall out.


CS: I remember.

King: And what I’m getting back to is every time that I came back, it was like meeting old friends, you know? And I picked up the story immediately and that was great. And I felt the same way. This is a plug for a wonderful TV series called “Mr. Mercedes” that’s going to start in about a week on DIRECTV Network. And you know, I wrote that book and there was this minor character whose name was Holly Gibney, who was at a funeral and Bill Hodges was supposed to comfort her. Bill Hodges is a cop. And she just walked in and stole a book. And sometimes, that happens with characters.

CS: Your character kind of admits in the sixth book you, yourself, that you lost an outline. Is that an actual story, is that a true story?

King: Yeah.

CS: You had a long outline for this?

King: I had an outline. It wasn’t particularly long, but it outlined the entire book, you know, the entire cycle of the books. And I did lose that. The only thing I can remember about it is it was written on a typewriter in the campus newspaper office at the University of Maine. It was one of these things that was built to receive teletype as well as type. So it had all capital letters. So I remember the outline, but I don’t know where it went. I don’t even know where the first draft of that book went.

CS: We were touring around today seeing all the sites that had inspired you. What inspires you these days? Has your response to fear or the things that draw fear out of you changed over the decades?

King: I don’t think so, a little bit. I don’t think that I’m as close to the childhood monsters and things that I was close to in my 20s and 30s. It’s just a natural thing. You know, you’re closer to your childhood. You remember more of what your childhood — and then, you get this double dip because you have kids of your own and you see what they’re seeing and you’re close to them and you have them almost as research subjects, you know, kid things, you’re watching what they’re doing all the time. I don’t know. There are things that I’m interested in, but there’s no way to generalize the case exactly. I see pictures sometimes in my mind. You know, it’s like I see dead people. And sometimes I do. But then I think I would like to write a story about that, find out what it’s about. I think that in the last few years, I’ve written more about old people. I’m not sure that’s the demographic I really want to go after because they’re shrinking all the time. But you know, you write what you know. When you’re young, you write about young people.

CS: Is there anything that didn’t make it into the movie that you wish had?

King: Well, there are things I think that the hardcore fans are going to wish were in the movie. And all I can say is that if the movie’s a success, there will be a sequel. I would love to see those doors into our world. And there is some of that in this movie. I would love to see Roland on the beach with those lobster monstrosities and stuff. I understand the rationale behind the movie that’s PG-13, and I was totally signed off on that. I think it’s the right thing to do. I want as many people in the tent as possible for all kinds of reasons. Part of it, having to do with the dynamic between the gunslinger and the boy, because I think that’s a father/son relationship. I’d love to see the next picture be R because I think that’s sort of where we’re coming from now, where the movies need to go. For a long time, PG-13 was the safe spot to go. And when pictures were R, the studio executives would say, “Well, we know that this is going to make 20 percent and 30 percent less money because we’re going to exclude a market, a prime part of the movie going public.” I think that movies like “Deadpool” and “Logan” changed that to some degree.


CS: Do you think it would be strange if they didn’t do “Drawing of the Three” in some way, shape or form next?

King: I think that would probably happen, yeah. I think that would be the logical place to go. I had to think about it in my mind. Like I said, I’m not into that part of it, the creative part.

CS: And in terms of your personal accomplishments, how high do you rank getting blocked by Trump on Twitter?

King: Not very high. Not very high. Getting blocked by Donald Trump on Twitter is a little bit like striking out the pitcher. I thought it demonstrated a sort of, I don’t know, I just think of a little kid with his little lip all the way pushed down, you know, it’s a childish thing to be done.

CS: Well, I thought it was pretty cool.

King: Not that you can’t. You know, thank you. I got a lot of good ink for that, actually. Go me.

CS: They managed to fit in your famous opening line, “The Man in Black fled across the desert and the gunslinger followed.” Were you happy with the way it’s incorporated into the film?

King: Yeah. I am. I was after them from the beginning to get that line in there. Not for me, but for the people who quoted it and stuff. It’s strange to me, but that line has become important to people, because when I wrote it it was just a line. It was a way into the story.

CS: It’s just this treasure trove in your mind. You’re so prolific and you’ve written so much. Where does that keep renewing itself from?

King: I don’t think it does. I think you get a finite number of stories, and when I was, let’s say 25 or 26, it was like people trying to escape a burning building. Inside my head, there were all these ideas that were crammed together, and I wanted to write them all at once. And now, I have less, but I’m grateful to have any, so that’s good. I’m working now, and that’s all I need. It’s a good thing. And I have a few ideas. I don’t know if they’re very good, but they’re ideas.

CS: Can you talk about what you’re working on now?

King: No. There’s a book done for next year and there’s a book that I wrote with my son called “Sleeping Beauties” that’s out next month. And he and I are going to go on tour. It’s nice to be able to write a book with your son. He told me what to do and I did it. This is a preview of the old folk’s home.

The Dark Tower is now playing in theaters everywhere.


Via: ComingSoon

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Justice League Star Announces ‘Flash Week’

Chris Parker



Justice League Star Announces ‘Flash Week’


With Justice League approaching its release, ‘The Flash’ week is now underway. While fans have already had a whole movie each featuring Wonder Woman and Superman and saw the two join forces with Batman last year, the other members of the Justice League aren’t quite as familiar. Out of all of them, however, The Flash is the best known. Even before his hit TV show on The CW, The Flash has long been one of DC’s most popular character.

Batman v Superman: Dawn of Justice and Suicide Squad both featured cameos from Ezra Miller as The Flash, and Barry Allen has gotten plenty of screen time in the Justice League trailers so far; and for those who have seen the movie, he’s apparently one of Justice League‘s best parts. Still, Warner Bros and DC want to make sure audiences know what separates this take on the hero from the one who’s been on The CW for years. As such, this week’s Justice League ad campaign is all about the Scarlet Speedster.

Justice League is kicking off ‘Flash Week’ today, with a new video featuring Miller. All week, new content will arrive focusing on Barry Allen, including new footage from the film. You can watch said announcement clip with Miller, below:



Last week, Justice League put the spotlight on Aquaman, revealing new footage of him in the film along with commentary from Jason Momoa. ‘Flash Week’ is starting even earlier this week, so we should get even more from the hero and his actor. While Aquaman will get his own solo film next year, WB and DC have yet to announce an official release date for The Flash’s solo movie, Flashpoint. Hopefully, Justice League will help sell fans on Miller’s character and increase anticipation for the solo adventure.

As we await more insight on The Flash, the marketing for Justice League has continued to offer promos, new footage, and interviews with the cast. So far, we learned about the weaknesses of each Justice League member. Though they seem god-like, they do have individual shortcomings. We also learned how Cyborg’s origin will differ from the comics. Like Aquaman and The Flash, he will get more time in the spotlight soon (and considering he’s nowhere near as well-known, he’ll certainly need it). In the meantime, stay tuned as more information on The Flash in Justice League is revealed.

Source: Justice League Twitter Account


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Jigsaw Trailer Recaps The Saw Franchise

Chris Parker



Jigsaw Trailer Recaps The Saw Franchise


A new trailer for Jigsaw gives fans and newcomers alike a refresher course on the series so far. The Saw franchise was a staple for horror fans every Halloween in the mid to late 2000s, until the series seemingly called it quits with The Final Chapter back in 2010. The Saw movies revolved around the exploits of John Kramer, a man diagnosed with a terminal illness who decides to use the time he has left to kidnap victims and test them to see how much they value their lives.

He would place inside vicious, themed traps, where they would usually have to shed some blood – or limbs – to survive; most of them didn’t. The series is one of the few horror franchises that paid close attention to continuity, with each sequel building on characters and plot revelations from the previous entry. By the time the series reached part seven, though, the story had gotten too convoluted for many, and it felt like Saw had run out of steam by the time The Final Chapter opened in theaters.

Jigsaw aims to revive the series once more, and a new trailer has appeared that quickly recaps the first seven Saw movies, and explains Kramer’s motivations and philosophy. The new sequel follows a fresh batch of victims being tested – and tormented – by the legendary Jigsaw… which should be impossible, since John Kramer died in Saw III.

It will be interesting to see if Jigsaw does well, since audiences seemed burnt out on the series back when The Final Chapter was released. The Saw franchise belongs to an era of horror commonly known as “torture porn”, which typically featured victims being graphically tortured and dismembered. Other movies from this subgenre including the Hostel films, The Collector and Wolf Creek; and while they proved profitable for a few years, their inherent nastiness soon turned most viewers off.

The original Saw was actually more of a taut thriller with little in the way of gore, and this new entry appears to be playing up the mystery of who exactly is behind the new tests. Jigsaw may have also lucked out in terms of timing since horror is experiencing a real boon right now. IT is now one of the highest grossing horror movies of all time, and Blumhouse is having a great year thanks to films like Happy Death Day, Split and Get Out.

With Pennywise emerging as a new horror icon, and the forthcoming Halloween reboot bringing Michael Myers back to life, maybe there’s room after all for Jigsaw in the modern horror scene.

Source: Lionsgate


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Blumhouse is Dominating at the Box Office

Chris Parker



Blumhouse is Dominating at the Box Office


Blumhouse Productions has quickly established itself as a studio to watch over the last decade and in 2017, they’re having an especially noteworthy run at the box office. Specializing in crafting low-budget horror films that go on to make enormous profits, Blumhouse first made noise by releasing Paranormal Activity, which was made on a micro budget and earned nearly $200 million worldwide. Paranormal Activity would of course spawn a six-film franchise, which hauled in nearly $900 million total.

Blumhouse has had similar success with the Insidious franchise – 3 films, $372 million – and The Purge franchise – 3 films, $320 million – as well as standalone hits like M. Night Shyamalan’s The Visit, which banked nearly $100 million on a $5 million budget. While every film Blumhouse releases doesn’t hit that big financially, the budgets on most of them are so small that profits are nearly guaranteed. Guiding this successful journey is namesake founder Jason Blum, who takes a keen interest in all the films produced by his company.

2017 has been one of Blumhouse’s best years to date at the box office, with early releases Split – January 20 – and Get Out – February 24 – becoming the studio’s two highest grossing films to date. Staying #1 domestically for an impressive three straight weeks, Split earned nearly $280 million worldwide on a $9 million budget, furthering Blumhouse’s profitable relationship with director Shyamalan. Later, Jordan Peele’s critically acclaimed Get Out would cruise to a cool $253 million on a budget of only $4.5 million.

This past weekend saw Blumhouse rack up its third big horror hit of 2017, as time-twisting slasher comedy Happy Death Day managed to surpass all advance expectations with a $26.5 million opening. This allowed the $4.8 million budgeted flick to easily knock off Blade Runner 2049 from the #1 spot. While Happy Death Day opened to considerably less than either Split or Get Out, the film’s small budget means that it’s likely already profitable for Blumhouse, and there’s no guarantee that positive word of mouth won’t lead to it holding on well in weekend two.

Next year looks poised to possibly perform even better for Blumhouse, as the studio has three big franchise entries coming up. Insidious: The Last Key arrives in January, The Purge: The Island hits theaters on July 4, and the John Carpenter-produced new Halloween movie slashes into the big screen just in time for its titular holiday. As if that wasn’t enough to look forward to, it was recently announced that Chris Hardwick will team with Blumhouse to produce three new horror films, one of which the Talking Dead host will direct himself. Anyone waiting for Blumhouse’s box office dominance to end will likely be waiting for a really long time.


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