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Firestarter Reboot Writer Details Capturing Stephen King’s Voice

Firestarter Reboot Writer Details Capturing Stephen King's Voice

For nearly 50 years, Stephen King has been giving audiences all kinds of captivating stories, spanning the worlds of horror, science-fiction, fantasy, and drama, inspiring other storytellers to adapt those stories to other mediums. . This is a new variation of the latest example fire starter, a novel by King released in 1980. A film based on the book was released in 1984, with Scott Thames writing this latest incarnation of the iconic story. The underlying challenge with such an effort is finding a way to honor previous versions of the story without merely reviving them, while also finding new perspectives that don’t go too far from expectations. new fire starter in theaters and on May 13 on Peacock.

The film has been described as, “For more than a decade, parents Andy (Zac Efron; extremely wicked, shockingly evil and loathsome; the greatest showman) and Vicky (Sydney Lemon; Fear the Walking Dead, Succession) his daughter Charlie (Ryan Keira Armstrong; American Horror Story: Double Feature, The Tomorrow War) from an obscure federal agency that wants to use its phenomenal gift to cause fire to a weapon of mass destruction. Andy teaches Charlie how to deactivate his power, which stems from anger or pain. But as Charlie turns 11, the fire gets harder and harder to control. The family’s location is revealed after an incident, a mysterious operative (Michael Greyes; Wild Indian, Rutherford Falls) is deployed to hunt down the family and capture Charlie forever. Charlie has other plans.”

ComicBook.com chatted with the Teams to talk about their approach to the project, the spirit of Stephen King, and future projects.

(Photo: Ken Voroner / Universal Pictures)

ComicBook.com: As a Horror Fan in Its Entire History, Before fire starter Officially proceeded, what was your relationship with the king? Do you have any favorite memory or movie or story of him?

Scott Teams: The first book I read about Kings was different weather, And my dad had it when I was a kid. I picked it up off the shelf one day and started reading it, so my introduction to King wasn’t really through more traditional horror stories, but rather “The Shawshank Redemption” and “Stand by Me” and “Apt Pupil” and “Was through. The Breathing Method,” which is a horror story. But that was my first introduction and it resonated deeply with me. I’ve never been like that… I haven’t read all the books. I only read a handful of King before I started working on his material, I’ve adapted some of his stories now, but I was always a fan and different seasons I definitely had a place in my heart.

You’re clearly no stranger to co-writing, entering franchises or adopting iconic works halloween kills, where there might be some pressure on him that doesn’t come with a completely unique or original story. how did you like to bring fire starter for life than something like this Halloween, Being in your background, did it make you feel a little more confident or was Stephen King an entirely different ballgame?

It’s an entirely different ballgame to King, but the thing that convinced me was that there was already a movie made and that movie was pretty faithful to the book. I would say it had the same structure and the same story, especially the first half. It’s very faithful to how the book is told non-linearly, all that, and so knowing that we had already seen a pretty faithful adaptation, it just didn’t need to be repeated.

So it gave me the freedom to try to find a new way of telling the story and it became a more linear story. I wanted to go deeper before the family unit was destroyed. Andy, Vicky, and Charlie, as opposed to just Andy and Charlie on the Run, which, in the book and the original film, is the majority of it and you see Vicky in flashbacks. But I wanted to set up a family and spend time with them so that when they split up, it would have more of an emotional impact, one would expect. But I didn’t feel the need to be super loyal because they had already done that and it gave me a lot of freedom.

You’re not going to write this movie unless you’re passionate about the story, so that passion inspires what you’ve really put into the script and dialogue. Were there times when, when you’re writing, you actively think, “It sounds so similar to a movie already made, how can I make it a little different?” Or was it not even a blip on your radar and you relentlessly followed the passion that you have for the story?

I don’t think about it that way, because I don’t mind if… I just want it to feel like a book. I want it to bring King’s story to life in a new way, but I don’t want to push away from what has been done before just to push it away. I really wanted to discover the truth of the story and find a way out, and for me, that was the father-daughter relationship.

And whenever I’m able to bring stuff out of the story, I happily did. I mean, there’s a lot of little pieces and things like, for example, in the opening credits, when we see flashbacks of videos of him in college, a lot of them are right from the book. And there are moments of homage inside the story, but really it’s just following the characters’ honest, emotional path and whenever he can converge with what’s written before, great, and if he did take his own path, So that was fine too.

It seems to me that a good adaptation finds the truth, finds the original emotional story, and sticks to it. And that was always, in the book and in this movie, hopefully, a father-daughter love and a father trying to protect his daughter from the outside world and from himself.

Do you try to capture or evoke King’s writings or his prose how you’re writing the script or is it about the core concepts you want to touch on and if people parallel his writing, it’s his is up?

I guess what I try to do is just drown it in the book, for lack of a better term. I spend a lot of time just with the source material and I’ve read it many times. And I’m very good at lifting ears. I try that the language of the king and the way he uses the prose in my head, his voice comes to my mind, and then I just write the thing. Sometimes I’m trying to channel her voice in a way I think, and sometimes I’m just finding my way through it.

But, like I said, I’ll often pull pieces of dialogue or description from his book directly into the story whenever I can get it off the ground. And it’s almost like it’s a slight course correction. It guides us, gets us back on the path, and makes sure we’re trying to be true to his voice and his story and the way he tells stories.

It’s a lean, mean, 90-minute story. There is no real fat in this story or this movie. History, a lot of this stuff has the backstories intentionally omitted because you don’t need to. You are keeping pace. Were there many sequences that you wrote in the script that didn’t make it to the final cut?

Well, over the course of about six years and three directors, there have been a lot of different things that have come in and out of the script. Each director will come up with his own vision for it, his ideas for the scenes, stories. I wrote many different ones. Originally it was a prelude to a rainbird in the mountains of Peru, killing someone. I ran the gamut. Which was a great idea, but then it was like, “Oh yeah, we’re making a little movie. I forgot about it.”

And so every director, from Akiva Goldsman to Fatih Akin to Keith Thomas, had their own idea of ​​what it could be, and my job was to ride that wave. So what was cool was everyone’s ideas in the final product, really, and a lot of each director’s ideas were saved and accumulated, and then Keith took it and made it his vision. But my job was just to keep us on track. Each new set of ideas would come and I was just trying to put us on the right track.

you continue to get into franchises that come with a lot of pressure with the story of the new the Exorcist With David Gordon Green. Is there anything you can tease about finding the balance of the greatest horror movie of all time, respecting the original, but also updating it for a new generation?

it’s a different animal than Halloween The way it is awarded in a different way. They’re both massively successful and widely popular movies, but there’s something about the Exorcist That, for whatever reason, people tend to see it as something more like a “movie” rather than a “movie”, or however you want to call it. I feel more pressure inside the ExorcistBut me too, at the end of the day, we all vowed not to tell this story unless we could tell it in a way that we felt honored.

So we were breaking down the story and trying to understand it thoroughly before any deal. Before we tried to make any compromises or figure out rights and all that stuff, we wanted to make sure we could figure out a story. So that was our initial COVID project, every Friday morning during the onset of COVID in early 2020 we would meet with Zoom, me and David [Gordon Green] and danny [McBride], Jason Blum, and we would pitch ideas and we would toss ideas around and I would go and write and David would go and write and we would come back together and pitch ideas and spent a few months doing that. And then we found this story we were excited about and presented it. So it wasn’t until we were really sure… we didn’t want to do it to do it. We knew it had to be something we all believed in. And we did, we found it.

fire starter in theaters and on May 13 on Peacock.

This interview has been edited for length and clarity. you can contact Patrick Cavanaugh directly on Twitter,

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Reference from comicbook.com

Drashti Jain