‘King on Screen’ Sits Down With Filmmakers Who Have Brought Stephen King’s Work to Life

Alci Rengifo

Early in filmmaker Daphné Baiwir’s “King on Screen” documentary, an important point is made that many people familiar with a story by Stephen King might have never read his books. Their likely introduction to a tale was through one of the many movies adapted from the horror master’s work. King’s name has been a constant presence for moviegoers of several generations. Every year there’s a new King film or TV production, with each new work published instantly snapped up by a studio. Baiwir has decided to track down as many directors as she can who have worked with King, and just let them chat in front of the camera. “I got the idea in 2019. There were a few documentaries on King and I’ve been a big fan of his, but they all focus on his personal life. It came to me that since he’s the most adapted living author, it would be interesting to go speak with the directors who have interpreted his work,” Baiwir tells Entertainment Voice. “He writes so visually. He tells stories with images you can just see in your mind, which is why filmmakers are so drawn to his work.”

Though the era of King on screen truly begins with Brian De Palma’s great 1976 “Carrie,” a film the documentary acknowledges, there isn’t necessarily a linear structure (De Palma is also missing as an interview subject). Baiwir gives the piece a free-flow feel where it jumps around from theme to theme. The directors she gathers are quite an impressive lot. Major highlights include Frank Darabont, who made two of the most acclaimed King adaptations, “The Shawshank Redemption” and “The Green Mile.” Mike Flanagan gives off a sense of genuine love for the author’s work while discussing “Doctor Sleep” and “Gerald’s Game.” The super fan will wonder why he doesn’t discuss his sadly canceled and planned adaptation of “Revival,” one of the best recent King novels. But the point is to celebrate the massive cinematic body of work. Baiwir also tracks down directors like Scott Hicks, who made one but powerfully endearing adaptation, “Hearts in Atlantis” and Mick Garris, director of notable King TV titles like “The Stand.” Garris also directed King’s much-scoffed 1997 re-do of “The Shining,” which was a response to Stanley Kubrick’s classic, still hated by the author.

“Darabont has been my favorite director since I was eight,” reveals Baiwir, “He made some incredible adaptations of King and it was warm and nice to talk with him for more than two hours. I will remember it for years. With the other directors it was also wonderful because you’re going in with a mutual appreciation for King’s work.” One senses that form of linked camaraderie between the interview subjects. Even if they are not in the same room, the filmmakers all share the similar experience of having responded to the writer’s work in particular, even personal ways. They also all tend to agree that the creator of macabre opuses like “It” and “Salem’s Lot” is in reality a very generous, down to earth character. It’s an essential component when considering how King’s work is driven more often by his human characters than the ghouls. Most of them tend to be working class, small town Americans thrown into extreme situations. This also provides a window into the appeal of King’s novels to a director like Baiwir, who is from France.

“Europeans are really interested in his vision of America,” says Baiwir. “It’s a vision that is correct on many things. He is able to see what’s so amazing to us Europeans when we think about the United States. It’s this incredible country that we dream of. It’s the land of liberty somehow but at the same time you can see all the dirt beneath that idea, all of the political dirt. We’re fascinated by that as Europeans because King’s vision is a well-balanced one. He doesn’t just portray America as ‘great and noble,’ at the same time there is this darker atmosphere. His stories can be set in small towns where people are hostile towards each other while still caring for each other. But that is universally appealing because you can find that in every country.” A director like Fritz Kiersch emphasizes such points when discussing “Children of the Corn” and its story centered on religious fundamentalism in rural America. Taylor Hackford, who made the great “Dolores Claiborne,” brings up the often ignored way King writes strong women characters. Even unnerving ones like Kathy Bates’s obsessed literary fanatic in “Misery,” a role which won her an Oscar, still carry empathy. Multiple directors interviewed acknowledge the influence of King’s wife Tabitha, who famously kick-started his career by saving “Carrie” from a trash bin.

Though very talkative, King fanatics will appreciate how “King on Screen” also makes room for some of the smaller films, some of which have almost been forgotten in the popular consciousness like “Thinner” and “The Storm of the Century.” Others have recently undergone growing reappraisal like Darabont’s “The Myst.” Baiwir naturally has her preferences. “I saw ‘The Green Mile’ when I was pretty young, so it had a very strong impact on me,” she says, “It made me somehow who I am. It shaped my beliefs towards society and what kind of human being you wish to be. I also love a lot of the other ones. There are so many adaptations and books. ‘Gerald’s Game’ is one I really appreciate, the book and film. Mike Flanagan did such an amazing job. It’s a book you think is impossible to adapt and he did an amazing job.” Flanagan and Darabont in particular seem to have a deeper connection to the writer. Darabont gets a bit more space than other filmmakers, maybe because he can also provide some truly fascinating material like King celebrating his birthday on “The Green Mile” set and getting to sit in the set’s electric chair.

“Everyone was so excited to talk about King’s work because many of these directors were fans to start with,” says Baiwir. “There was never a question they refused to answer.” Maybe there’s just something infectious about working on a King story because of the relatability involved. Directors on camera share about wanting to be the pack of friends in “Stand by Me,” or relating to the childhood terror of “It.” Someone compares King to Dickens and it’s a keen observation. His work is both slice of life and surreal nightmare, tapping into the darker shades of America’s subconscious as a nation. Of course, one wonders what frightens Baiwir, who is so attracted to King’s prose and visions. “Planes (laughs). I hate going into them,” reveals Baiwir. “For my work I am obliged to go on a lot of planes but it’s really the thing I can’t deal with. It’s always a struggle and I keep doing it, but I really can’t stand it.”

“King on Screen” releases Aug. 11 in select theaters and VOD on Sept. 8.