Mike Flanagan Reveals How Studio Ruined ‘Life Of Chuck’ and Why He Passed on ‘Carrie’ Series

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Mike Flanagan‘s most recent movie shares similarities with some of his previous projects – it’s an adaptation of a Stephen King novel, it has eerie and enigmatic scenes, and it features his frequent collaborators. However, this film stands out as Flanagan’s boldest endeavor yet. Flanagan has built a dedicated fanbase through his dark television series (“The Haunting of Hill House,” “The Fall of the House of Usher”) and films (“Oculus,” “Doctor Sleep” adaptation). In a somewhat unexpected turn, “The Life of Chuck” offers a blend of mystery with life-affirming themes, dance sequences, and a heartfelt narrative. Tom Hiddleston takes on the role of Chuck, initially appearing as a shared vision of a world teetering on the edge of apocalypse. Disclosing any more would risk ruining the movie’s surprises. Flanagan recently spoke with EbMaster about the difficulties of filming and editing the movie’s elaborate dance scenes, his collaboration with King, and his decision to step away from the horror genre.

This film is a bit of a turn for you compared to your previous work. What about this story spoke to you?

This tale came into my life at a particularly poignant moment, as I encountered it in April 2020, when the lockdown due to the pandemic was a mere month old. Starting a narrative that seemed to depict a global catastrophe with no explanations, only escalating unease and despair … it struck a chord, making me hesitant to continue reading. I wondered if I could bear it. It felt as though, “The world is ending right outside the window — I don’t need more anxiety.” But I’m grateful I persevered because by the end of it, I was astounded to find myself transported from that bleak state into a realm of hope, gratitude, and joy. It was a profound reevaluation of many aspects of my life. I wept, not tears of sadness, but tears of emotion, so moved was I by the story. As I set it down, I thought, “If this story could guide me through such a journey from where I started reading … If I could bring it to life as a film that could offer solace to one person at a time when they need it most, what an extraordinary opportunity.” I wrote to Steve immediately after finishing, expressing my feelings and desire to adapt the story if he would entrust it to me. Although it took years to come to fruition, I wanted this movie to exist for future generations, knowing that they too might find solace in it. What astounds me is that the first act still resonates more deeply with me now than it did in 2020, something I didn’t think was possible. I feel as though there will always be a time when such cycles of despair and anxiety persist. A tale like this is rare and precious to me. I wasn’t focused on genre or anything else. It simply moved me so much that I felt compelled to bring it to life.

One of the elements that makes the story unique is the unconventional structure, with three acts told in reverse, and the opening act initially feels unconnected to the rest of the film. Were there ever any discussions about changing the structure from the original story to make it more straightforward for the audience?

I found the structure of the page captivating. It was unconventional, and when I pitched it to my producing partners as my next project, there were suggestions to modify the structure for a more familiar feel or ease for viewers. However, I always felt that altering the structure wasn’t the right approach, and I wanted to trust the audience to embark on this journey with me. Moreover, King’s choice of structure reflects the idea that life becomes meaningful when viewed in hindsight. If we had presented it chronologically, starting with his childhood and working our way up, it wouldn’t convey the same wisdom or depth. Therefore, preserving Steve’s unique structure was essential to me. I am grateful that we were able to produce this independently as I believe the traditional studio system may not have supported such an unconventional structure; they might have pushed for a more conventional approach instead.

Dancing is a main focus of the film, including Tom’s centerpiece scene, which is not a gear we’ve seen you in before. What was the most daunting part of directing the dancing scenes?

In my opinion, the movie that stands out as my all-time favorite is “All That Jazz,” directed by Bob Fosse. The blend of dance and music in films has always been something that resonates with me deeply. Unfortunately, I’ve never had the chance to participate in this realm. I didn’t feel it was appropriate for me to offer advice on choreography to Mandy Moore or discuss drumming techniques with Taylor Gordon, nor did I think it was my place to guide Tom or Annalise [Basso] on their expressive dance moves. My role was to observe closely and I believe I never provided feedback other than, “I love this — keep going.” My job was to document them as they created a spontaneous, joyful experience, without letting them down in the cinematic aspect.

So, my approach was to revisit the silent film era, alongside my Director of Photography Eben Bolter, and study dance sequences dating back to the 1920s and 1930s. We examined how Hollywood has captured dance with the camera over the years and strived to apply those lessons in a sequence that would complement their dancing.

The challenge wasn’t so much during filming, but rather in editing: I aimed to become an Invisible Dancer, using my editing skills to add as much emphasis and harmony to their movements as possible. It was one of the most technically complex sequences I’ve ever worked on. It was one of the largest and most daunting edits I’ve ever faced. With the footage we captured, I could create up to 50 different versions of that dance sequence, each unique — some significantly so.


Stephen King has spoken in the past about wanting to keep a church and state separation with filmmakers adapting his work, but you have a relationship with him after adapting so much of his material, and he’s raved about this project and others you’ve done. What does your interaction look like for a project like “Chuck”?

This individual maintains that the person in question has been consistent in his approach towards him as well. He values separating the written word from its cinematic adaptation, not wishing to influence one’s creative interpretation of either. This perspective can be seen as a double-edged sword; if he disapproves of your work, both you and the world will notice. A notable example is Stanley Kubrick.

However, this person has consistently maintained a certain distance from the creative process. He provides feedback on casting choices, reads scripts, and offers thoughts or suggestions sparingly. Such instances have only occurred two or three times. In most cases, he takes a step back and discusses the results post-production. The most detailed conversations were during the production of “Doctor Sleep,” as there were potential issues for him due to its complex history.

By the time they reached “Life of Chuck,” he was more comfortable with the creator taking the lead and expressing his creativity. Currently, they are working on a “Carrie” series. The initial conversation started when Amazon proposed the show, but at first, the person questioned why it needed to be made since it had already been done. When he shared his rationale for wanting to create the series, the person’s response was skeptical. Yet, as more information was shared and the plan for the show became clear, he expressed interest in the innovative approach being taken. Once he agreed, the project could move forward; if he had declined, the creator would not have proceeded with it. Thus, their relationship has developed over time, but he has always been exceptionally mindful of preserving the distinctiveness between the book and its film adaptation.

Can you talk a bit more about your vision for “Carrie”?

The original story, which is over half a century old, remains amazing. Its central themes revolved around youth, bullying, and the repercussions of such actions. However, I think the power and scope of bullying, as well as its consequences in today’s world, have significantly evolved. While the core ideas are still relevant, this adaptation explores much more than just Carrie White’s story. Unfortunately, I can’t reveal too many details about what we’re working on, but I can share that we’re not simply retelling the story or focusing on telekinesis. Instead, we’re crafting a narrative where Carrie White embodies a tragic superhero origin story that takes a disastrous turn. You might have seen similar interpretations before. Our main focus is on how modern technology, such as the internet, can create an illusion of anonymity and ultimately destroy a community. The image of Carrie White in the locker room has always been disturbing, but when you consider the role smartphones play in today’s society, that scene takes on a whole new meaning.

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2025-06-06 02:17