Canadian student filmmaker floats Stephen King cartoon adaptation to KingCon

There is a small list of filmmakers who have adapted the written work of Stephen King: Frank Darabont, Rob Reiner, Tobe Hooper, John Carpenter, Brian De Palma, Mike Flanagan, Mick Garris, Kubrick, and David Cronenberg.

But now, University of Toronto student Lauren L.E. Peralta can add her name to that list. Peralta, currently a Chemistry major at the University of Toronto, completed her adaptation of the horror master’s short story Luckey Quarter in 2023 as a Grade 11 student.

“Students had to come up with a passion project to work on for the entire year. My Dad had suggested that I be part of the Dollar Baby program, which could act as both a school and personal project,” she told Postmedia.

The Dollar Baby program of King’s was an arrangement in which the American author would grant permission to students and aspiring filmmakers or theater producers to adapt one of his short stories for $1. She added her parents kept the fuel and passion alive about film and being creative.

“I’ve grown up loving the arts and I’m grateful to my parents who always nurtured this love,” Peralta said.

Lauren’s father, Samuel Peralta, has produced no less than five Stephen King adaptations, Willa (2024), Luckey Quarter (2023), Dedication (2021), Rest Stop (2015), Big Driver (2015).

“This is one of the few animated DB films out there, and quite possibly the only animated version of Luckey Quarter. Mr. King even makes a cameo appearance in the story,” he said.

“Luckey Quarter is also the first and only Stephen King film to be launched to the Moon, landing in a time capsule in early 2025.”

This October, L.E. Peralta’s short film, Luckey Quarter – a cartoon – joins several Canadian storytellers’ work based on Stephen King short stories being screened at KingCon in Atlantic City, a convention devoted to celebrate the work of the bestselling horror author.

Among them will be British Columbia producer Norm Coyne, and New Brunswick director Jon Mann – all who will be bringing unique perspectives on King’s canon.

KingCon returns Oct. 22-24 to Atlantic City, New Jersey after and inaugural event in 2024.

Below a Q&A with student director L.E. Peralta:

Postmedia – Out of all of Stephen King’s short stories available through the Dollar Baby program, what was it about Luckey Quarter that made you say, “This is the one?”

L.E. Peralta – The message of Luckey Quarter, with its hopeful and happy ending, was what drew me into the short story. Stephen King is known for his horror stories, which, given my age and little experience with the genre at the time, would have limited my ability to adapt these stories well. I think his message about family connected with me as I am very close with my parents. Being able to empathize with Darlene as well as her daughter, Patty’s, interaction with her mother was something I could emotionally connect with in a way I could confidently portray in film.

R. Brown – Was the decision to animate made before the selection of the story, or after? If the decision to animate was made after – what influenced this decision?

L.E. Peralta – The decision was made after the selection of the story based on the initial purpose for the project. In Grade 11, students had to come up with a passion project to work on for the entire year. My Dad had suggested that I be part of the Dollar Baby program which could act as both a school and personal project. The logistics of this technically being a school project meant that it would be easier to not have to film and recruit other actors, especially due to the wide age range of all the characters. At the time I was also interested in learning how to animate, so that led to choosing animation.

R. Brown – Yours is the first animated adaptation of Luckey Quarter. Did animation unlock something in King’s story that you don’t think could have been achieved as effectively in live action?

L.E. Peralta – I think animation allowed for me to fully express myself creatively and to let my interpretation of the story come through. In live action directors create the main vision for the film, but actors can add their own interpretations with their portrayal of each character. Animation really allowed me to sit with my ideas, storyboard the scenes and fix them on the go if I wanted any changes. I think it challenged me to flesh out my own ideas so that it’s clear what I’m trying to convey to the audience.

Postmedia – King’s work is usually associated with horror – the scary – but Luckey Quarter is more melancholy and hopeful than terrifying. How did you capture this balance in your animation work and sound?

L.E. Peralta – Given the nature of the story and my own animation style, I think the typical horror usually seen in Stephen King’s stories was not shown. Instead, I think the scary aspects are rooted in the melancholy; with the fears of a single mother who is worried about being able to care for her two children. I wanted to portray this by focusing on Darlene’s facial expressions. The quiet pain of being unable to give them the childhood she believes they deserve; animated with a close-up on just the eyes or Darlene’s face smiling with a certain pain in her eyes.

Changing the lighthearted ukulele music to silence after waking up from the dream also conveys the stark reality that Darlene faces. Every time she faces an internal conflict – whether it’s what to do with the quarter or wondering what she truly needs in life – I used a drum beat to simulate a heartbeat. I think this allows the audience to decide and interpret whether that heartbeat is her anxiousness, excitement or any other emotion that they connect with. This can also build up anticipation for what is coming next similar to other horror type films.

Postmedia – King’s stories often leave room for interpretation. Were there moments you felt you had to invent visual language that wasn’t on the page, and how did you stay true to King’s intent while making it your own? Or even just making the visual language simpler for audiences?

L.E. Peralta – Being able to visualize Darlene’s internal monologues was something I had to learn to portray well. I couldn’t just copy-paste the words onto the screen as that would be no different than making the audience read the book. Pairing her thoughts with facial expressions was typically my go-to, but I felt this challenge, especially at the climax of the story. I didn’t want to show Darlene’s face as she works out her dilemma of what she needs in life. I wanted to show the audience that we were in her mind with all the conflicting thoughts that keep popping up.

A lot of the writing in the film, including this internal monologue, are direct quotes from the books, which helped stay true with King’s intent. To make it my own, especially when I was just using words on the screen, was using colour. This animation was mostly in black and white, so when colour does appear it’s used to emphasize the importance of the scene – like the casino – emotion, or character development.

Postmedia – Are there any sequences that challenged you the most. What were you the most proud of once the film was finished?

Peralta – The casino scene challenged me the most considering I have never set foot into one. There was a bit of research when it came to the set-up of the actual roulette, the board and what the overall feel of the scene should be. I wasn’t exactly sure how I wanted to portray Darlene’s winnings in a way that didn’t feel too repetitive to the audience. In the end, I think using the actual roulette animation for the most important spins – the first and her last two – were able to create tension and suspense watching the ball roll and rooting for Darlene to win.

I was most proud of the last scene with Darlene and her children as that was the heart of what this story was about. Her realization that being with her family was enough connected with me when I was animating it, and again when I was rewatching it for the first time in two years. Being able to clearly convey that message of hope and the importance of family through my animation made me extremely proud of my Grade 11 self.

Postmedia – If Stephen King watched your adaptation tomorrow, what’s the one reaction you’d hope he’d have after credits roll?

Peralta – If Stephen King watched my adaptation, I would hope that the story’s main message of hope would be able to reach him. I would hope that he would leave feeling warm and hopeful inside, especially since Darlene’s internal struggles are still very prevalent today. The feeling that despite what life may throw at you, having a support system of people who really care about you is enough to keep pushing.

Postmedia – The official Dollar Baby program has now come to an end after nurturing emerging filmmakers for decades. What does it mean to you to have your film become part of the final chapter of that remarkable history?

Peralta – I am extremely grateful and proud to be part of the Dollar Baby program, especially being able to make it before the end of the program. I remember when my Dad told me that the program had ended and I felt so lucky to have participated in the program. It increased my confidence in trusting my abilities and taking the time to ensure my adaptation was something I could look back on with pride. It was an amazing opportunity for myself and other aspiring filmmakers to gain experience in creating films.

Postmedia – What other film plans do you have?

Peralta – I’ve been trying to think of potential comic or graphic novel ideas since I really love to draw. I’m not sure about any films, but I’ll likely have short animatics and animation based on my own characters or other inspirations I get from reading.

Postmedia – What is your own background?

Peralta – I’m currently a Chemistry major at the University of Toronto, with minors in Psychology and Environmental Studies. But I still love drawing and animating, and find time to do that on the side. I’ve grown up loving the arts and I’m grateful to my parents who always nurtured this love.

From the artwork surrounding me in my home to watching and being a part of musicals and plays, I’ve always enjoyed being able to creatively express myself. As an imaginative child, I would visualize the scenes from the books I read wondering how I would portray this character as an actor or how I’d like to see this character portrayed as an audience member.

Postmedia – What are some of your favorite Stephen King films, and other movies?

Peralta – I prefer reading the original print books, but of Stephen King’s works, I think Misery is one of the best film adaptations. The horror in the situation feels so authentic thanks to the incredible acting and direction, as well as Mr. King putting his own true life experience into it.

One of my favourite adaptations is Bridget Jones’ Diary. It has the perfect romcom mix that I never get tired of watching and recommending to my friends. If I want to really sit and ponder about the meaning of life, I’d watch Dead Poets Society or Interstellar. The former really expresses the necessity of having art in our lives while the latter also has that message of hope in times of darkness and uncertainty.

See more about KingCon here: https://www.kingconinfo.com

Watch a trailer for Peralta’s short film here: https://www.youtube.com/watch?v=isBfgOf5GPA

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