Frank Darabont announces retirement after ‘Stranger Things 5’

When Netflix released the first season of Stranger Things in 2016, Frank Darabont was still nearing retirement. After finishing his last directorial job with the 2013 Mob City episode “Red Light,” he and his wife moved to California’s Central Coast, where he was able to bask in the afterglow of an impressive filmography that includes episodes of “The Shawshank Redemption,” “The Green Mile,” “The Mist,” “The Walking Dead,” and “The Mist.” The Shield,” “Tales from the Crypt,” etc.

But about 10 years after retiring, Darabont received a call from his agent informing him that Stranger Things creators Matt and Ross Duffer were fans of his work. The sentiment was mutual, as Darabont and his wife had watched the first four seasons of the Netflix series over and over again. While the Duffers were still developing the show’s fifth and final season, agents arranged a friendly meeting between the two.

Shortly after, Dan Trachtenberg, who was scheduled to direct two episodes of Stranger Things 5, dropped out due to scheduling conflicts with his upcoming film, Predator: Badlands. The Duffers offered Darabont to replace Trachtenberg in “Hail Mary,” and after a week of consideration, he decided to come out of retirement and join the set of “Stranger Things.”

Darabont, 66, directed episodes three and five of the final season. Episode 3 was released along with Volume 1 on November 26th. Entitled “The Turnbow Trap,” the episode is packed with upside-down and light-side-up action and emotion, marking a triumphant return for the director. Episode 5 is titled “Shock Jock,” and the second installment of the three-episode series begins Dec. 25 (the “Stranger Things” series finale will be released in theaters and on Netflix on Dec. 31).

Variety caught up with the director between volumes to talk about his experience working on Stranger Things and his return to filmmaking 12 years since he last sat in the director’s chair.

I understand that you were a Stranger Things fan before you met the Duffer Brothers. How did you get involved with the show?

My wife and I were fans of the show from early on. In fact, we watched all four seasons three or four times, or even five times. It was very good. Then one day, out of the blue, my agent called me and said, “The agent in the office next door to me is representing the Duffer Brothers, and I wanted you to know that they’re big fans of yours.” I said, “That’s great. I’m so honored. I’m a big fan of theirs.” So I thought, “Next time I’m in Los Angeles, I’ll have lunch with them and give them a compliment.” I also had never heard of the Duffer Brothers until this huge success on Netflix, so I was curious to know where they all came from. So I had lunch with them when I was in Los Angeles, and I think about a week later, my agent called me again and said they were inviting me to come and direct an episode.

What was your first reaction to that?

I hadn’t done it in a while, and I was told it was like riding a bicycle. “I’ll never forget it.” And they were right. It was my first time filming in about 13 years, but from the first moment on set, there was nothing strange about the process for me. The one-episode offer ended up being two episodes and six months in Atlanta. It was a great experience.

The Duffer brothers told us it took them about a week to consider the proposal. What was going through your head that week and what made you want to accept?

Well, once you retire, it will be bliss. My wife and I live on the Central Coast in Monterey and don’t feel the pressures of Hollywood. I’m enjoying life and I’m no longer the workaholic I was for about 30 years in Hollywood. So I had to wrestle with that question, and of course I had to talk to my wife about it. Because I had no intention of going to Atlanta unless she came too. I love being married and have no intention of staying anywhere for months without her. I also have 5 Chihuahuas that I need to adopt. It was a big move in a way, especially after it became two episodes. We just lived in another place for 6 months. When you’re young and single, it’s no big deal, but when you’re an older person like me, rooted in the community and content to be unemployed, you have to ask yourself, “Do I really want to do this?” But in the end, my love for the show and my wife’s love for the show trumped all other concerns and we said, “Whatever, let’s give it a try!” I’m glad I did it.

During your consideration, were you allowed to read the script for the episode you were directing?

Yes, they sent me the script and I thought it was great. I requested every script they’ve ever written so I could keep track of what’s going on throughout. They were very generous in sending them to me as long as they were kept strictly confidential. These are not as good as the nuclear codes, but they are pretty close. What’s interesting about our culture is how much people want to dig into this stuff instead of waiting to be amazed by what they see on screen. I’m the ultimate no-spoiler guy. When I was in middle school, I went to see “Soylent Green,” and before we went in, my shitty classmate said to me, “Oh, Soylent Green is human.” I have never forgiven them. That’s one of the reasons I don’t use social media, and I’m also reluctant to watch trailers. There’s too much to give. I want to enjoy something fresh that interests me.

Since you returned to the director’s chair after 12 or 13 years, did anything change in the filmmaking process?

Ah, that’s right. “Mob City” was the first time I went from film to digital and I loved it. It’s very helpful for the director because you don’t have to call cuts. Every time the director orders a cut, the energy on the set dissipates. Just by saying, “Let’s all come back together,” the energy stays where it needs to be. The actors stay in the same headspace for three to four take rolls before calling cut. I love that aspect. Filmmakers now have so many new tools.[For Stranger Things]our cinematographer was shooting with a techno crane. It can be frustrating, but you can do a great job. Also, the cameraman is no longer where you think he is. He is no longer near the camera, but is often found in a tent off to the side. The same goes for the person drawing focus. It is always longer next to the camera. So many things have been delegated to these technological devices.

But I have to commend this crew. They were really nice overall. The director and crew relationship, especially the cinematographer and AD relationship, was very important to me, and I had great relationships with both. Brett Jutkiewicz was my DP and Lisa Rowe was my AD, and they were both great. The Duffers know how to put a show together, and some have been with them since season one. There were so many resources around me that could answer any question I had. It was a great collaborative atmosphere.

Episode 3 is full of emotional scenes, including heavy conversations between Will (Noah Schnapp) and Joyce (Winona Ryder), Will and Robin (Maya Hawke), and Holly (Nell Fisher) and Henry (Jamie Campbell Bower). What was it like working with this ensemble to create such dramatic dynamics?

I’ve always said that if you have the right actors, you don’t need to hear much from the director. I learned that with my first theatrical feature film, The Shawshank Redemption. Sometimes the director gets too much in the actor’s ear. For example, Tim Robbins loves talking to directors. Morgan Freeman is not like that. He’s a very intuitive, instinctive actor and does a great job. Both are true. I remember midway through filming, I was talking to Morgan about the next scene we were going to shoot, and I could see his eyes glaze over. He was so polite and listened to me that I stopped myself and said, “You know what? “Morgan, you really don’t need to hear this, do you?” And he said, “No, just tell me where to stand and how to turn. That’s it.” From that moment on, I entrusted my work to him. It was a great learning experience for people who are directing for the first time. All actors are different.

Did the Stranger Things cast prefer more dialogue and direction, or were they mostly in control of their acting, or was there a mix?

They’ve been doing it for a long time. Especially young people who were around 10 years old when we started, and now they’re young adults. They’ve spent half their lives with these characters, so they’re pretty used to them. There were very few physical things that required direction, like when Dustin (Gaten Matarazzo) comes out of the van and drops a large bag of tools right in front of Lens. It took a lot of practice and blocking to get the camera to fall exactly where it was going to land. I think there were about 5 takes. There was also a scene where Caleb (McLaughlin) throws acetone at the Demogorgon and runs down the stairs. I needed him to pause and reflect on a particular moment. Because I knew I would need extra time to post. It’s like doing all the calculations on set to make sure you can cut it correctly. Usually I’m more specific and precise about the actors there, but apart from that, they understand their characters. My job as a director is to provide the editing room with the necessary materials and to act as the head cheerleader on set. You support and encourage everyone. A little bit of encouragement or recognition from the director can motivate you to do another 24 hours of hard work.

Has this experience made you want to direct more or are you comfortable retiring?

I really love being retired. However, when I’m not fighting evil empires, studios, and networks, I also love being on set with creative people. Congratulations to Netflix for being so supportive. If there is such a good situation and it is about the creative process, it is very gratifying. So my long-winded answer ultimately boils down to “it depends.” If there are friendly circumstances and I’m excited enough about the content, it’s certainly a possibility. I’m not going to rule anything out, but it has to be something special. Stranger Things was a special opportunity for me to be a small part of something so big and amazing that so many people love. I am grateful to the Duffers for giving me that opportunity. Working with them, the cast and crew will always be a wonderful memory. I’d love to see where their careers go. They all have great potential and are very good people.

I don’t want to give away spoilers, but what can we look forward to in episode 5?

I think we’re going to get some really great stuff with Henry in episode five. As you can see in episode 3, you can see that his story is getting deeper. It was such a thrill. There will be a lot of good acting and good scenes, so please look forward to it.

This interview has been edited and condensed.