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His sister, who co-wrote the duo’s breakout horror project, Mama (2013), was similarly demure. “That’s the complication: how to do very genuine truth, and at the same time appease an audience that has their expectations. “You have to really follow your instincts as a storyteller and a director, because you’re telling the story based on your own emotions,” he insisted. The Flash and It shared the challenge of being developed from beloved works, each with a fan base (comic readers, King fans) known for its hostility to poor adaptations of cherished texts.

“It’s not something that I’m looking for- complicated, convoluted projects,” Andy Muschietti told me in an interview. After the hectic development of The Flash, they’ve achieved something similar, taking a property that seemed cursed and somehow delivering a breezy and charming film. A few years ago, they concluded a two-part adaptation of Stephen King’s It-a box-office sensation that somehow found a coherent narrative in the gleeful chaos of King’s 1,100-page, decades-spanning horror novel while also managing to be fun and zippy. Originally set for release in 2018, and attached to multiple directors during what became a lengthy production process, the project has evolved from hot ticket to hot potato, bedeviled by rewrites, the changing demands of DC’s cinematic universe, and a mountain of disturbing allegations against its lead actor.īut if The Flash nonetheless resonates with audiences, much of that will have to do with Andy and Barbara Muschietti, a brother-and-sister creative team (he directs she produces) who have some experience with troubled Hollywood productions. A solo picture has been in the works since 2014, when Ezra Miller was cast as the character. The Flash, DC Comics’ speedy superhero, has plenty of costumed enemies, but for many years, the speedster’s biggest nemeses have been the people trying to make his movie.

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