Once Upon A Time (Again) In Colorado by Robert Bowen

Once Upon A Time (Again) In Colorado

It’s a fairly un-fairytale’d fact of life, that none can deny, all things end. And just in case we ever forget this universal truth, the fates have their ways, and will drop into our days with their little mortality reality checks. And none of us are beyond their reaches. It was during a certain reality check of my own, wallowing and recovering from a fairly serious seizure of unknown origins that hit me at the top of 2023, that I was looking at what I had accomplished as an indie filmmaker. And, more importantly, what I still wanted to check off that “live life fully with great satisfaction” checklist. At least in terms of cinematic storytelling satisfaction. Rolling Stones proclamation, of how lacking such a feeling is, be damned.

And since the years of Whatsabudget Films have been about experimenting and doing things I have not before tried my hand at, I started looking at directions not ventured by my pen. While seeking this sense of direction, I had my attention recalled to Stephen King’s Dollar Baby Program. And I had a bit of a “Eureka!” moment. E is for Eureka. Adapting the work of one of the greatest writers generations have known was easily living high on that imagined checklist of satisfied living. Or at least it would be, if such a list actually existed. But being a lifelong fan of the King to boot, made the icing on that cake all the more sweet. So I threw my hat into the ring, as the saying goes, and they sent it back saying, “stop throwing hats at us!”

But I jokingly digress. They sent back the contract, and I was in! I was adapting a King! If the seizure had laid low my levels of enthusiasm and lust for life, the Dollar Baby Program quickly sent those levels into deep space orbit. I would get to work on an official project that had my name sharing space with the King of wordsmiths and the almighty creator of worlds beyond worlds, Stephen King. And it was about the time of that realization striking down upon me with all it’s bluster and bravado, that I really began to understand…I would get to work on an official project that had my name sharing space with the King of wordsmiths and the almighty creator of worlds beyond worlds, Stephen frickin’ King! GAAAHHHHHHHH!

In so many ways, I wasn’t ready for this. But in others, I absolutely was. That loud, annoying voice of my inner impostor syndrome was sounding the alarms and raising all manner of hell at the very idea of me taking on, and adapting a tale from the pages of the unholy Saint of all Horrordom. I was anxiety-ridden…and put away wet and a bit shaky. But I had this amazing opportunity ahead of me. The paperwork signed and officially in my virtual hands. This was the moment. I was going to make it happen. I was going to rise to the challenge and meet this opportunity enthusiastically head-on! And so I began. The story was short and sweet, but far from simple. It had such complexity and a sturdy frame upon which one could build. The story I had selected was “Luckey Quarter” and for the life of me, I wanted to know what that superfluous “e” was all about.

A slightly disarming, and certainly charming bit of character detail sure, but I wanted there to be more. I wanted it to mean more. And then I heard it in my head, “well, ‘E’ is for Expiation!” And everything in my head clicked at once, and the story began to rush in and take shape more fully, as I sought to expand upon this eccentric element of the title and note left behind for the the main character Darlene Pullen to find. The “E” is for Expiation. It was childlike. Reminiscent of the heartfelt innocence of a children’s book title or Sesame Street-esque alphabet lesson. As such, the targets of this potential dark magick I was finessing from aspects I read as being present in the original story, even if they weren’t explicitly detailed or highlighted, had also manifested in the proverbial crosshairs.

I say “potential dark magick” because the original story and ending leaves a lot to interpretation. I could easily see how one would read the final bit of the tale and think the ending was a happy one. While I, on the other hand, read the ending as a bittersweet one that was very much in the realm of the universe kicking you while you are down. So it was very much up in the air. This told me I wanted to change the ending a bit, since that is very common practice so as to have some level of surprise for those who have drank from the source, so to speak, but also to pick a side. With that, I started asking how many other changes to the story I might be comfortable with making. If I really wanted to expand on this idea of the “e” meaning something, and there actually being more than luck at play, could I stretch the creative limits of the tale and even nod to some other works that hailed from the crown?

This meant that I really had to marinate on it all, on the ideas, and just the notion of altering that much of the story in my adaptation to begin with, for several days, as I poked and pecked at the keyboard outlining the story and narrative for screen. Struggling with whether or not I dare it at all. Ultimately, knowing this might be my only time to play in the King’s pools, I would make the most of it, and really make sure that I was 100% satisfied with the story I wanted to tell to honor and homage his words and worlds. But the struggle was real. The anxiety was doubly so. And so to highlight the indomitable spirit that I faced these questions with, I even changed the name of the script to focus it on this shift and redirection of the narrative. So what was “Luckey Quarter” in the book, became E Is For Expiation for our retelling for the screen.

If one were to search the annals of the Dollar Baby Program history, one would find that of the first films made under the Dollar Baby banner, one was by an indie film team here in Colorado. One of the members of that team was Ralph Giordano. Ralph has long been a staple of the Colorado independent film scene, and so as we ventured to make one of the last films licensed through this program, I reached out to Ralph about being on the team for our film as well. We felt strongly about having an opportunity to close that circle for Colorado Indie Film, and bookend the Dollar Baby program in this unique manner for the state. It was a very special moment, and one that was amazing to be a small part of.

But the film was full of those kinds of special little collaborations and moments. From Erynn Mitchell, (E is for Erynn) a friend and frequent collaborator from my Film Studies days at UCCS announcing her eagerness for being involved and taking on the lead role of Darlene in our initial conversations about the project. To working closely with her to further develop the character around Erynn’s own journey with her personal identity and cultural background to give Darlene an authenticity that resonated with her personally, and with the narrative I was wanting to weave. So that was special, and made a million times more so when our initial crowdfunding campaign fell far short of us being able to pay for Erynn’s travel back to CO to be in the film, but she handled her own travel to ensure that she could remain in the project. There were so many moments like that. Of creative ingenuity and determination seeing us through. Of sacrifices made to ensure the film would be possible. Of love and support from our community.

E is for Everything. The film stood as a true testament to everything I love about independent cinema, and the community behind it here in the Springs. Its very spirit which feeds me, its creative collaborative community that repeatedly nourishes and uplifts me, and its passionate dedication to the cause that absolutely sustains me. Without every aspect of which, we could not have done any of this. But as it stands, we did it all. And I couldn’t be prouder of what we have done. With just six days of production, and about three dozen committed Colorado creatives, we managed the impossible. To leave a mark like this on the history of independent film here in CO, and to be part of this final chapter of Stephen King’s life-changing Dollar Baby Program.

My life will now forever be divided by these eras. The days before adapting the King, and the days that followed. E is for Eras. Check. Eat your heart out, Mick Jagger.

-Robert Bowen (January 4, 2025)

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