1. Stephen King: From page to Screen
Talk by Ellen Cheshire

2. Stephen King
I love the movies, and when I go to see a movie that's been made from one of my books. I know that it isn't going to be exactly like my novel because a lot of other people have interpreted it. But I also know it has an idea that I'll like because that idea occurred to me, and I have spent a year of my life working on it.
Published works 54 novels under the names Stephen King or Richard Bachman
6 non-fiction works
200+ short stories
Selling more than 350 million copies

3. Carrie (1976) d. Brian de Palma
“Brian de Palma’s Carrie was terrific. He handled the material deftly and artistically and got a fine performance out of Sissy Spacek…. More stylish than by book.” Stephen King
Carrie (1976) d. Brian de Palma

4. Case of Carietta White, by David R
Case of Carietta White, by David R. Congress It can hardly be disputed that failure to note specific instances of telekinesis during the White girl’s earlier years must be attributed to the conclusion offered by White and Stearns in their paper Telekinesis: A Wild Talent Revisited—that the ability to move objects by effort of the will alone comes to the fore only in moments of extreme personal stress. The talent is well hidden indeed; how else could it have remained submerged for centuries with only the tip of the iceberg showing above a sea of quackery? We have only skimpy hearsay evidence upon which to lay our foundation in this case, but even this is enough to indicate that a “TK” potential of immense magnitude existed within Carrie White. The great tragedy is that we are now all Monday-morning quarterbacks “Per-iod!” The catcall came first from Chris Hargensen. It struck the tiled walls, rebounded, and struck again. Sue Snell gasped laughter from her nose and felt an odd, vexing mixture of hate, revulsion, exasperation, and pity. She just looked so dumb, standing there, not knowing what was going on. God, you’d think she never— “PER-iod!”
Carrie (1974)

5. Salem’s Lot (1979) d. Tobe Hooper
“The major emotion that went through my mind as I watched it was relief. Most of what television touches within the horror genre turns out to be absolute drivel.” Stephen King
Salem’s Lot (1979) d. Tobe Hooper

6. Toward the top, where the turnpike ramp joined Route 12 (which became Jointner Avenue closer to town), he glanced up toward the horizon. What he saw there made him jam the brakes on with both feet. The Citro'n shuddered to a stop and stalled. The trees, mostly pine and spruce, rose in gentle slopes toward the east, seeming to almost crowd against the sky at the limit of vision. From here the town was not visible. Only the trees, and in the distance, where those trees rose against the sky, the peaked, gabled roof of the Marsten House. He gazed at it, fascinated. Warring emotions crossed his face with kaleidoscopic swiftness. "Still here," he murmured aloud. "By God." He looked down at his arms. They had broken out in goose flesh.
Salem’s Lot (1975

7. The Shining (1980) d. Stanley Kubrick
“The real problem is that Kubrick set out to make a horror movie with no apparent understanding of the genre. I don’t mean to sound vitriolic... It’s like this great big gorgeous car with no engine in it.” Stephen King
The Shining (1980) d. Stanley Kubrick

8. Jack Torrance thought: Officious little prick
Jack Torrance thought: Officious little prick. Ullman stood five-five, and when he moved, it was with the prissy speed that seems to be the exclusive domain of all small plump men. The part in his hair was exact, and his dark suit was sober but comforting. I am a man you can bring your problems to, that suit said to the paying customer. To the hired help it spoke more curtly: This had better be good, you. There was a red carnation in the lapel, perhaps so that no one on the street would mistake Stuart Ullman for the local undertaker. As he listened to Ullman speak, Jack admitted to himself that he probably could not have liked any man on that side of the desk — under the circumstances. Ullman had asked a question he hadn't caught. That was bad; Ullman was the type of man who would file such lapses away in a mental Rolodex for later consideration. "I'm sorry?" "I asked if your wife fully understood what you would be taking on here. And there's your son, of course." He glanced down at the application in front of him. "Daniel. Your wife isn't a bit intimidated by the idea?" "Wendy is an extraordinary woman." "And your son is also extraordinary?" Jack smiled, a big wide PR smile. "We like to think so, I suppose. He's quite self-reliant for a five-year-old."
The Shining (1977)

9. “Misery is a great film.” Stephen King
Misery (1990) d. Rob Reiner

10. umber whunnnn yerrrnnn umber whunnnn fayunnnn These sounds: even in the haze. But sometimes the sounds – like the pain – faded, and then there was only the haze. He remembered darkness: solid darkness had come before the haze. Did that mean he was making progress? Let there be light (even of the hazy variety), and the light was good, and so on and so on? Had those sounds existed in the darkness? He didn’t know the answers to any of these questions. Did it make sense to ask them? He didn’t know the answer to that one, either. The pain was somewhere below the sounds. The pain was east of the sun and south of his ears. That was all he did know. For some length of time that seemed very long (and so was, since the pain and the stormy haze were the only two things which existed) those sounds were the only outer reality. He had no idea who he was or where he was and cared to know neither. He wished he was dead, but through the pain-soaked haze that filled his mind like a summer storm-cloud, he did not know he wished it.
Misery (1987)

11. The Shawshank Redemption [1994] d. Frank Darabont
“I realised he’d made not just one of the best movies ever done from my work, but a potential movie classic. That turned out to be the case.” Stephen King
The Shawshank Redemption [1994] d. Frank Darabont

12. Rita Hayworth and the Shawshank Redemption (1982)
In 1975, Andy Dufresne escaped from Shawshank. He hasn't been recaptured, and I don't think he ever will be. In fact, I don't think Andy Dufresne even exists anymore. But I think there's a man down in Zihuatanejo, Mexico, named Peter Stevens. Probably running a very new small hotel in this year of our Lord I'll tell you what I know and what I think; that's about all I can do, isn't it? On March 12th, 1975, the cell doors in Cellblock 5 opened at 6:30 A.M., as they do every morning around here except Sunday. And as they do every day except Sunday, the inmates of those cells stepped forward into the corridor and formed two lines as the cell doors slammed shut behind them. They walked up to the main cellblock gate, where they were counted off by two guards before being sent on down to the cafeteria for a breakfast of oatmeal, scrambled eggs, and fatty bacon. All of this went according to routine until the count at the cellblock gate. There should have been twenty-seven. Instead, there were twenty-six. After a call to the Captain of the Guards, Cellblock 5 was allowed to go to breakfast.
Rita Hayworth and the Shawshank Redemption (1982)

13. The Green Mile (1999) d. Frank Darabont
“What I like is Darabont’s childlike imagination, which coupled with his ability to identify the core of the material and then realise his vision has made quality films out of The Shawshank Redemption, The Green Mile and now The Mist.” Stephen King.
The Green Mile (1999) d. Frank Darabont

14. This happened in 1932, when the state penitentiary was still at Cold Mountain. And the electric chair was there, too, of course. The inmates made jokes about the chair the way people always make jokes about things that frighten them but can't be gotten away from. They called it Old Sparky, or the Big Juicy. They made cracks about the Power bill, and how Warden Moores would cook his Thanksgiving dinner that fall, with his wife, Melinda, too sick to cook. But for the ones who actually had to sit down in that chair, the humor went out of the situation in a hurry I presided over seventy-eight executions during my time at Cold Mountain (that's one figure I've never been confused about; I'll remember it on my deathbed), and I think that, for most of those men, the truth of what was happening to them finally hit all the way home when their ankles were being damped to the stout oak of "Old Sparky's" legs. The realization came then (you would see it rising in their eyes, a kind of cold dismay) that their, own legs had finished their careers. The blood still ran in them, the muscles were still strong, but they were finished, all the same; they were never going to walk another country mile or dance with a girl at a barn-raising. Old Sparky's clients came to a knowledge of their deaths from the ankles up. There was a black silk bag that went over their heads after they had finished their rambling and mostly disjointed last remarks. It was supposed to be for them, but I always thought it was really for us, to keep us from seeing the awful tide of dismay in their eyes as they realized they were going to die with their knees bent.
The Green Mile (1996)

15. Cell (film) Mr Mercedes (TV) 11/22/63 (TV)
Coming Soon… 2015/6 releases
Cell (film) Mr Mercedes (TV) 11/22/63 (TV)

16. “To a lot of people in Hollywood… the stuff I’ve written is extremely visual. It looks like it comes to them and it begs to be made into a movie … it might be that they feel too much of it is there to start with and they don’t have to work on it hard enough. I think that it’s tough to break the gap between the warmth in the novel that makes the characters seem worth loving and caring about, set off against the horrors. When they make the movie they concentrate on the moment when the monster comes out and starts waving his claws. I don’t think that’s what people are interested in.”