Script sexual chat
They didn’t want to see that Henry Bowers has a human side, basically, and even though I like to explore that depth in all the characters, for functional purposes we decided to leave it out, because we do test screenings of the movie and nobody reacted to that.
It felt like nobody wanted to know what happened to Henry Bowers behind closed doors.
Vulture caught up with the siblings before the movie’s premiere — and a few days after the sequel was green-lit — about how hard it is to make original films, bullies who are “expressionist” in the art of cruelty, and why it’s so appealing to keep terrorizing kids.
When you guys boarded the project after Cary Fukunaga left, how familiar were you with his script, and did you incorporate any of what was already there? Andy Muschietti: I read the script, and there were things that were cool about it, and we kept those. For me, it was pretty easy to detect things that I wanted to change in the big picture and structurally and in the characters.
So they ditched the kitschy 1980s aesthetic of Pennywise in favor of a dirty, more Victorian look (“I don’t dig the 20th-century clown.
I think it looks cheap,” Muschietti’s said), and created the screen adaptation they’ve always wanted to see.
arrives in theaters today, but it’s been a long and winding road to the big screen. Back in 2012, Cary Fukunaga wrote a script for the first film version, and was once attached to direct, but he departed the project over creative differences.
I like to create characters and worlds, and there’s nothing like telling your own stories.was like a love letter to childhood with a parable of the death of childhood, the death of that world of magic and imagination and belief in things that don’t exist.So it’s basically a farewell homage to childhood, and it’s recurrent in Stephen King’s world.It was hard for us not shooting for four years, from to this, and in part it was because we were a little stubborn with original material. You guys are Argentinian, and one of the things I appreciate most about horror that comes out of Latin countries is its relationship with the supernatural and the fantastic.
Filmmakers like Alejandro Amenábar, Alejandro Jodorowsky, and of course Guillermo Del Toro create such beautiful ghost stories and tales of the surreal.
It’s also in the book — there’s a moment when Stephen King describes the life of Henry Bowers and his relationship with his dad, and his dad is a fucking scumbag, and he beats him up.