A Guide to Creating a Stephen King Cinematic Universe

The man in black fled across the desert, and the producers followed...


    This feature originally ran in December 2014, and is being republished as part of our week-long celebration of Stephen King.

    Welcome to Producer’s Chair, a new mini-column in which Editor-in-Chief Michael Roffman offers his own career advice to artists and various figureheads in the film and music industry. Try reading this in the voice of American character actor and legend Frank Sivero while slowly sipping your coffee or tea, preferably in a clean suit. No? Okay, just read it at your leisure.

    Back in October, Scott Tobias wrote a condemning case against cinematic universes, arguing that the films conform to a specific template, include scenes that are otherwise useless, and eventually add up to a confusing viewing. He’s not wrong. For all its past glories, Disney’s Marvel Cinematic Universe has become an intricate web of cursed narratives and curious mythologies that will only get more complicated as the waves continue to pummel theaters. But really, the stories beg for that medium, and the universe allows them to get away with an Avengers film that doesn’t feel too over or under-wrought.

    The problem is that everyone’s doing it. DC Films tipped off theirs in 2013 with Man of Steel, Fox continues to stretch out their X-Men franchise, and Sony’s doing something with Spider-man — we think. The difference lies in execution; whereas Marvel has spent the better half of a decade, or maybe even more, planning theirs, the others seem to have juggled their own licenses around because, well, that’s what is expected of comic book movies these days, right? Hell, even Star Wars is getting in on the fun, what with all the spin-off films and TV shows.


    stephen king A Guide to Creating a Stephen King Cinematic UniverseThat’s why we thought it’d be interesting to flirt with Stephen King. In the past few months, development for Josh Boone’s adaptation of The Stand has picked up speed over at Warner Bros., shifting from a three-hour film to a four-part event starring Matthew McConaughey as Randall Flagg. That’s big news for fans of the Maine demigod, but it’s also perilous. This is a chance to aptly capture King’s work and impress it upon a younger generation who might be looking for something to grasp and obsess over amidst a post-Hunger Games and post-Potter culture.

    But what a canon of work to enjoy. So far, King has published over 55 novels and nearly 200 short stories with a great majority of them linked together. His magnum opus, The Dark Tower, spans seven novels with correlating comic books, short stories, and one novella tossed in for added weight. It’s a very complicated and incredibly diverse culture King has devised, which is why a proper film or television adaptation of the saga has yet to get off the ground — despite repeated attempts by J.J. Abrams and Ron Howard.

    For this installment of the Producer’s Chair, we opted to do all the legwork for the studios and pieced together a proper cinematic universe of King’s bibliography, all based around Boone’s upcoming production of The Stand. We parsed out the release dates, cast its characters, and targeted 19 essential films and/or television properties that would do justice to the man’s reign in modern literature. Sadly, this probably won’t happen, but this was far more enjoyable than it was taxing.


    So, come come commala and enjoy the trek.

    –Michael Roffman

    01. The Stand, Part I

    Early Summer 2017 – Film

    The StandSynposis: A weaponized strain of influenza, nicknamed “Captain Trips”, is accidentally released from an American government facility, killing over 99% of the world’s population. Those who survive the plague begin to experience visions from either the benevolent Mother Abagail Freemantle or the terrifying Randall Flagg, two paths that will spawn a post-apocalyptic war between good and evil.

    Cast of Characters: Randall Flagg (Mathew McConaughey), Mother Abagail Freemantle (Cicely Tyson), Stu Redman (Scoot McNairy), Frannie Goldsmith (Anna Kendrick), Larry Underwood (Oscar Isaac), Nick Andros (Michael B. Jordan), Nadine Cross (Rooney Mara), Lloyd Henreid (Walt Goggins), Harold Lauder (Miles Teller), Rita Blakemoor (Christine Woods), Trashcan Man (Sharlto Copley), and General William Starkey (Michael Shannon)

    The Walk-Ins (Previously Seen Characters): Well, we’re starting from scratch here, right? Rest assured, you’ll want to keep your eyes on McConaughey’s Flagg. He’ll not only be a major figure in The Stand series but also The Dark Tower and beyond.


    Soundtrack Options: ABC’s 1994 mini-series shined for their musical choices, from Blue Öyster Cult’s “Don’t Fear the Reaper” to Crowded House’s “Don’t Dream It’s Over” (both tracks are directly referenced in the books). These films, however, could benefit from taking a more Dogme 95 approach; in other words, use the environment to inject some song selections. Considering this series will take place in modern times, we’ll want to work with some fresh sounds. The National comes to mind, specifically songs like “Slipped”, “Afraid of Everyone”, or “Green Gloves”.

    The Circle Opens: Ideally, the first of the four films will be able to establish its primary characters — Stu Redman, Frannie Goldsmith, Larry Underwood, and Nick Andros — as it pertains to the widespread infection of “Captain Trips.” This should also introduce several through-lines specific to this film, such as Shannon’s General William Starkey, whose attempts to contain the virus fail horrifically.

    But How Does This All Break Down? The mini-series was brilliantly cut into four parts — “The Plague”, “The Dreams”, “The Betrayal”, and “The Stand”. That’s a pretty agreeable structure, and given that director Josh Boone has already been commissioned to draft four installments, it’s very likely the theatrical films will be slightly similar. However, not only are there aspects of the book that should be expanded upon (e.g., Trashcan Man), but those four sections, especially the first two, could benefit from bleeding details into one another. However, the cliffhangers that the mini-series employed would do wonders on the silver screen, especially the ending of “The Plague”, which sees Stu escape a desolate and corpse-laden CDC facility into the night. There’s no way that doesn’t guarantee sales for the sequel.

    lincoln tunnel A Guide to Creating a Stephen King Cinematic Universe


    Pivotal Scene: When Larry and Rita Blakemoor enter the Lincoln Tunnel alone, it’s one of the creepiest sequences that King has ever put to paper. The mini-series attempted to capture that horror but only scratched the surface. Odds are Boone recognizes this and has something clever up his sleeve; however, one suggestion would be to film this with zero light. Start taking notes from The Descent, too, in terms of capturing feelings of claustrophobia on the silver screen. Sheesh.

    From Page to Screen (Changes From the Book): There’s another great, short scene in the book when Larry goes to see the new Nightmare on Elm Street film, and the narrator implies that, given the world’s impending end, Freddy would not be coming back. That scene would certainly be spooky for theatergoers IRL who will also be anticipating a follow-up by the film’s end. Perhaps they shift Larry’s screening from Nightmare to Star Wars? Or even The Avengers?

    The Bridge (Relation to the CU): The events of The Stand factor into a setting that surfaces earlier in the fourth Dark Tower book, Wizard and Glass. Flagg is also the main antagonist throughout most of that series. From here, however, the story for Stu and co. is just about to begin.

    –Michael Roffman


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