Production
Author Stephen King had always wanted to write a script about a haunted house, having been inspired by an alleged haunted house in his home town of Durham, Maine.
King originally pitched Rose Red to Steven Spielberg as a feature film in the early 1990s, in part as a remake of the 1963 film The Haunting. The project went into turnaround and a complete script was written, but Spielberg demanded more thrills and action sequences while King wanted more horror. King and Spielberg mutually agreed to shelve the project after several years of work, with King buying back the rights to the script. King returned to the project in 1999, completed a revised script, and unsuccessfully pitched the script to director Mick Garris (with whom King had worked on the 1992 film Sleepwalkers, the 1994 TV miniseries The Stand, and the 1997 TV miniseries The Shining). King next proposed the project on Friday, June 18, 1999, to producer Mark Carliner (with whom King had worked on two miniseries, The Shining and 1999's Storm of the Century). Carliner agreed to produce the script as a feature film, and King agreed to start script revisions on Monday, June 21. But King was hit by an automobile while walking on a road near his home on Saturday, June 19, 1999.
Read more about this topic: Rose Red (miniseries)
Famous quotes containing the word production:
“To expect to increase prices and then to maintain them at a higher level by means of a plan which must of necessity increase production while decreasing consumption is to fly in the face of an economic law as well established as any law of nature.”
—Calvin Coolidge (1872–1933)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)