Stephen King names the one movie that “scared the living daylights” out of him
Few literary figures in American history have wielded a more profound influence on modern Hollywood horror than the renowned Stephen King. The author behind classic novels like Carrie, It, and The Shining, King’s affinity for gripping horror narratives has significantly moulded the landscape of cinematic storytelling, guiding the creative direction of various filmmakers.
King’s prowess as a seasoned horror writer adds an intriguing layer to his perspective on the films that genuinely unsettle him. In 1999, The Blair Witch Project transformed the horror genre, lauded as a groundbreaking moment akin to horror staples like The Exorcist. The idea that horror storytelling could be rooted in seemingly authentic video footage is a notion that The Blair Witch Project further propelled, creating the illusion of a real documentary gone terribly wrong in a chilling fashion.
This idea seized King’s attention significantly. “One thing about Blair Witch,” King explained, “[Is] the damn thing looks real. Another thing about Blair Witch: the damn thing feels real. And because it does, it’s like the worst nightmare you ever had, the one you woke from gasping and crying with relief because you thought you were buried alive, and it turned out the cat jumped up on your bed and went to sleep on your chest.”
Of course, King is a pro to all things horror, having penned brilliant novels that play on the cultural zeitgeist of the time while creating terrifying manifestations of anything and everything that frightens humankind. The Blair Witch Project similarly played on some of these tropes, tapping into various aspects of existential paranoia while captivating audiences based on the one thing that’s arguably the most terrifying: fear of the unknown.
Perhaps that’s why King claimed the film “scared the living daylights out of me,” adding that it scared him “because it was so unpolished. And nothing tops the final shot.” The final shot has been deemed by many as the most terrifying ending to a horror film ever. Although some may disagree, the movie’s final scene seems to amass every ounce of spine-tingling sensibility it filters throughout perfectly.
Although this film gives King the creeps, another surpasses it in terms of personal favourites. Along with The Blair Witch Project, King also cherishes Frank Darabont’s 2007 adaptation of his novella The Mist. The genesis of the story struck King as he visited the nearby supermarket the day after a colossal thunderstorm had ripped through the town. The unsettling tranquillity that ensued post-storm affected King deeply, and Darabont subsequently decided to convey it in the film adaptation.
Although there might exist a common perception of King as a maestro of horror who masterfully conjures up superficial frights with ghouls and clowns, those who have delved into his body of work recognise his exploration of genuine psychological fear. This is underscored by his insights into the 1980 psychological horror film, The Changeling.
“There are no monsters bursting from chests,” he wrote. “Just a child’s ball bouncing down a flight of stairs was enough to scare the daylights out of me.”
