It’ Movie: How The Muschiettis Turned Stephen King Book Into Fall’s Big Film. After an unprecedented viral response to its creepy first trailer, the New Line horror film It continues to build out- sized tracking numbers that have some whispering the film could exceed a $7. September 8.  The film is directed by Andres (Andy) Muschietti, with his partner and sister Barbara producing alongside Roy Lee, Dan Lin, Seth Grahame- Smith and David Katzenberg. This is only the pair’s second Hollywood feature after their $1.

Mama grossed $1. 45 million worldwide after exec producer Guillermo del Toro saw the concept in a short scene filmed by the duo and encouraged them to turn it into a feature. An adaptation of the 1. Stephen King bestseller about a clown that terrorizes and kills children in the town of Derry for short bursts and returns every 2.

Early life. King was born in Sacramento, California in 1965, the son of Ronald and Odessa King. He and his four siblings grew up in Altadena, California.

It was previously turned into a miniseries best remembered for Tim Curry’s creepy murderous leering circus clown. Those big red shoes have been capably filled by Bill Skarsgard, and the film’s heart, the bond between seven pre- teenagers known as The Losers (Jaeden Lieberher, Finn Wolfhard, Sophia Lillis, Jack Dylan Grazer, Wyatt Oleff, Jeremy Ray Taylor and Chosen Jacobs) gives It a vibe that feels like one part Stranger Things and one part Stand By Me (which was based on a King novella). This despite a well- deserved R rating for scares and violence, including a shocking opening scene. Here, this emerging star filmmaking team tells Deadline how making King movies was destiny for them and why clowns can be so damn scary. DEADLINE: The It trailer went viral and received nearly 2. Whether it’s fear of clowns, or affection for a 3. Stephen King novel, why did audiences respond so strongly, in a way that few new films resonate?

Cast/credits plus additional information about the film.

New Line. ANDY MUSCHIETTI: Well, the trailer made a splash because it is very horror- driven. But when you see the movie, you will encounter a story that is not only that, but is very much a character- driven drama about the bond between these kids, The Losers, and their emotional journey and all that that implies.

Read all the hottest movie news. Get all the latest updates on your favorite movies - from new releases to timeless classics, get the scoop on Moviefone. The It movie based on Stephen King's book could exceed a $70 million and even hit $80 million when it opens September 8. California's trusted source for L.A. news. Get breaking Los Angeles news by neighborhood and for all of greater L.A.

That includes humor. That is what you don’t see in that trailer.

BARBARA MUSCHIETTI: I think the reason people responded so strongly when it went viral and had so many hits is because they wanted to share the pain, or the fear, that is magnified by their own experiences. Then, you get to be the first one that tells your friends about what they’re about to experience, and it becomes this collective experience, which is what we’re all trying to achieve in this world of disconnection. DEADLINE: This became an opportunity for you when Cary Fukunaga stepped away over creative disagreements. Word was that he wanted to keep some version of the scene in the King book where these kids engaged in an act that pushed the boundaries of sexual content. It is hard to imagine a wide studio release featuring such a thing, but can you explain how you dealt with this as a creative decision?

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BARBARA MUSCHIETTI: To be completely honest, I think there is a bit of misconception there. When we got the material we inherited from Cary, those scenes were not there. There is a bit of clout about that being a reason he left and I don’t think that was it, but clearly, when we boarded and Andy took over, those parts of the book were really not things we felt we needed in the story. It wasn’t a question of censoring it.

The studio never said no, stay away from this. It just wasn’t a natural way into the story. ANDY MUSCHIETTI: I wasn’t interested in that part. My emotional experience with the book did not regard that scene at all, and I think in general it’s an unnecessary metaphor at the end of the story of a rite of passage. That actually was talked about during the whole story, but it was a bit unnecessary. It’s great in the book. I love Stephen King’s style, his way of shocking people with those tonal swings and unexpected intensity, but I think while it was jarring in the book, it wasn’t necessary in the movie adaptation.

For me it was about engaging the audience from an emotional point of view with the characters. New Line. That passage from childhood to adulthood is happening all the time in the story, which in its entirety is a parable of the horror of leaving childhood behind. Basically, it is the death of childhood, and that’s why it is not a coincidence that Pennywise calls himself the eater of worlds. It’s not an eater of worlds in regard to planets, or at least I never thought of it that way. What he’s eating is faith and imagination and the ability to fantasize about things that don’t exist, that are part of the magic of childhood, and yeah, I think the group scene was a bit of unnecessary broad metaphor of that rite of passage. DEADLINE: You instead see them making a blood pact to fight this clown if he comes back.

Perhaps that was enough of a bond between these kids? ANDY MUSCHIETTI: Yeah, and it’s very sad, too.

It’s a bittersweet moment because if you read the book, you know that that blood oath moment is the last time that all of The Losers will be together, the seven of them. And even though they don’t know it, the tone of that scene, how it’s shot and how the music underlines it, that tells you about it in a subliminal way because they all say goodbye to each other and there’s something there that’s telling you this is the end of something. It is the end of childhood. DEADLINE: What kind of influence was Stephen King’s novels to two young wannabe genre filmmakers in Argentina? REX/Shutterstock. ANDY MUSCHIETTI: We grew up reading Stephen King. We were fans of horror at very early age; we were exposed to horror movies very early in life so there was this addiction we carried very early, and then came Stephen King.

We’re very big fans of his. He’s my literary hero.

It all started with Pet Sematary but then It came along and for me, it was a mind- blowing experience. My first reaction, when offered the opportunity to direct this movie, was basically to go back to my emotional experience reading the book when I was a child, and translating that into a movie that would blow my mind as an adult. Those were the big ideas when approaching the making of this movie. Watch Alpha And Omega 3: The Great Wolf Games Streaming.

DEADLINE: When you were kids soaking up horror in Argentina, what movies scared the daylights out of you? BARBARA MUSCHIETTI: Our parents used to take us to the drive- in, a lot. It was a good way for them to save the money for a babysitter. We’d sit in the back.

Sometimes we’d pretend to be asleep. But we’d just watch these films.

I remember one of the films that scared the bejesus out of Andy in particular was Close Encounters. That is not traditionally a horror film…ANDY MUSCHIETTI: It scared the sh*t out of me. It was a seminal experience, both an introduction to the magic of movies but also to the horror of movies. I lived that movie with so much excitement. And at the end, when the alien queen comes out of the spaceship, I was f*cking terrified.

I was maybe 5. That’s where the addiction started. And then, every Saturday night as a family activity, we would stand in front of the TV and watch horror movies. Probably the other big shocking experience was that day we saw Manster. It’s an old black- and- white movie about this actor who turns into a monster. The image that still haunts me till this day, is the guy is looking at himself in the mirror, and finding that he has an eye on his shoulder. BARBARA MUSCHIETTI: Also Dr.

Phibes. They would show that Vincent Price movie on TV in Argentina, and we watched on our little black- and- white Noblex TV. Also, there were a couple of old Spanish anthologies that were terrifying we grew up with. One day we’d like to remake those. DEADLINE: I had the drive- in on my mind as I wrote Tobe Hooper’s obit. That’s where I saw his Texas Chain Saw Massacre as a teen.

It was the scariest way to see it, at the drive- in. I’ll never forget the feeling.