“I think it’s a really nice reveal for our kids when they discover that what’s happening to them now has to do ,” she said. She was also pleased by the way it dovetailed into stories of the Locke family in Matheson. In the case of Dodge (Laysla De Oliveira, pictured), whose motivations are a mystery for some time in the book, Averill felt it was important to reveal the character’s true nature and objective as soon as possible. Those instincts often led the team to bring ideas from later in the comic into the forefront of the show for the sake of clearly delineating character ambitions. And his comment was, ‘Just doing a literal adaptation of my comic would be boring.’ And so he liberated us to not be afraid to really follow our creative instincts and desires.” We had a lot of conversations with him all along the way. “I mean Joe was an active participant in our creative process. “I think that we were so fortunate to get the freedom to remix from Joe Hill himself,” Cuse revealed. Character relationships are refocused and, perhaps most unsettling for some fans of the comic, the town of Lovecraft is now Matheson – a reference to horror and sci-fi writer Richard Matheson, who also worked in television and saw his stories adapted into films like I Am Legend and The Box.Īs both producers pointed out, bringing a comic book to television is an exercise in “adaptation, not translation.” Elements barely hinted at in the initial two stories become important touch points in the program’s first season. “There are other ways to get there,” she said.Īnd the other ways the television series gets to some of Locke & Key’s ideas may surprise readers of the comic the most. ![]() Averill said it was a conscious decision to avoid the graphic horror because “once you go there, there’s sort of no going back once you’ve set that tone.” Also, she noted the material does not have to be gory to be scary. Those lessons led Cuse and Averill away from the more grotesque horror elements – though some of that still occurs – into a series which leans more into the family and fantasy aspects of the comic book. “Just in the same way that if you make a pilot, you’ve made calibrations and readjustments, we tried to learn lessons from the previous iterations,” Cuse said. “It doesn’t fit into a box,” Averill added, “which I think is what’s made it difficult and a challenge to adapt, but also what makes it so special and unique.”Ĭuse credited Averill with helping him “finding a shared vision for how we wanted to do the show.” At the same time, he considers the long development something akin to the way many TV shows begin. And trying to sort those all out and kind of calibrate them and put them all together and make them all work together was something that’s hard to do,” Cuse said. “There’s horror, there’s fantasy, there’s magical keys, there’s a murder mystery, there’s teen drama. The mix of genres and tones made it something special and something worth shepherding through two development cycles and two streaming platforms. It didn’t feel like it was the derivative of like 20 other things, which they very easily could have done.” “ pulled off the near impossible, which was to do something that was emotional and heartfelt but also really genre. Reading it when first it first debuted in 2008, Locke & Key quickly became one of his favorite comics ever. “The impetus to continue to work on this just came from a love of the comic,” he said. But as Cuse told Rotten Tomatoes, the program needed that near-decade in development to strike the right tone even as the material inspired him to keep at it. The project soon moved to Netflix, where The Haunting of Hill House’s Meredith Averill came on board as a co-showrunner, and a third pilot was filmed. A pilot episode, produced for Hulu in 2018, would receive the same fate as the Fox pilot. ![]() After that, it spent some time as a feature film project before executive producer Carlton Cuse ( Lost) got a hold of it in 2017. In 2011, a pilot was produced for the Fox broadcast network which failed to go to series, but was warmly received when it screened at Comic-Con International: San Diego. Published from 2008 to 2013, it was a smash for publisher IDW and quickly earned the interest of television producers. Based on the acclaimed comic book series by Joe Hill and Gabriel Rodriguez, it tells the tale of a family shattered by tragedy who move to Lovecraft, Massachusetts, only to discover their ancestral home is a place of magic, demons, and unresolved history. ![]() Netflix’s Locke & Key took a long road to become a series.
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