Frank Darabont on his retirement from ‘Stranger Things 5’

Frank Darabont had barely retired when Netlix released the first season of “Stranger Things” in 2016. He had completed his last directing gig – the 2013 “Mob City” episode “Red Light” – and moved with his wife to California’s Central Coast, where he enjoyed an incredible filmography that includes “The Shawshank Redemption,” “The Green Mile,” “The Mist,” episodes of “The Walking Dead,” “The Shield,” “Tales from the Crypt” and more.

About a decade after his retirement, however, Darabont received a call from his agent, informing him that Matt and Ross Duffer, the creators of “Stranger Things,” were fans of his work. The feeling was mutual, as Darabont and his wife had watched the first four seasons of the Netflix series several times. The agents had a friendly meeting between them when the Duffers were still developing the show’s fifth and final season.

Shortly thereafter, Dan Trachtenberg, who was set to direct two episodes of “Stranger Things 5,” dropped out due to a scheduling conflict with his next film, “Predator: Badlands.” In a Hail Mary gesture, the Duffers offered Darabont to take Trachtenberg’s place, and after a week of consideration, he decided to retire and join the ‘Stranger Things’ team on set.

Darabont, 66, directed episodes 3 and 5 of the final season. Episode 3 will be released together with Part 1 on November 26. The episode, titled “The Turnbow Trap,” is packed with action and emotion in the Upside Down and the Rightside Up, and features a triumphant return for the director. Episode 5, titled “Shock Jock,” kicks off on December 25 with the second of three episodes. (The ‘Stranger Things’ series finale hits theaters and Netflix on December 31.)

Between the volumes, Variety spoke with the director to hear about his experiences working on “Stranger Things” and his return to filmmaking after twelve years since he last sat in the director’s chair.

We heard you were a fan of “Stranger Things” before meeting the Duffer brothers. How did you end up on the show?

My wife and I were fans of the show from the beginning. We had actually watched all four seasons three, four, maybe even five times. It was so good. Then one day my agent called me out of the blue and said, “The agent in the office next to me represents the Duffer brothers, and he just wanted me to tell you that they are big fans of yours.” I said, “That’s great. That’s very flattering. I’m big fans of theirs.” So I thought, “Well, next time I’m in LA, I’ll meet them for lunch and just compliment them.” I was also fascinated to know where on earth they came from, as I had never heard of the Duffer brothers before they created this huge success on Netflix. So I had lunch with them when I was in LA and I think about a week later my agent called me again and said they’re inviting you to come direct an episode.

And what was your first reaction to that?

I hadn’t done it in a while, but they said it’s like riding a bike: you don’t forget it. And they were right. From the first moment on set, there was nothing unfamiliar about the process for me, even though it was about 13 years ago. The one-episode offer ended up being two episodes and six months in Atlanta. It was a great experience.

The Duffer brothers told us you would need about a week to consider the offer. What was going through your mind that week and what made you want to accept it?

Well, once you retire, it’s bliss. My wife and I live on the Central Coast in Monterey, where we don’t have the pressure of Hollywood on our backs. I’m enjoying life, and for once I’m no longer the workaholic I was for almost thirty years in Hollywood. So I had to wrestle with that question and of course talk to my wife about it because I wasn’t going to Atlanta unless she came too. I love being married, and I won’t be in one place for months without her. We also have five chihuahuas that we should bring with us. It was quite a big step, especially when it became two episodes. We were looking at six months of living in a different place. If you’re young and single, it’s not that big of a deal, but if you’re an old fart like me who has his roots in a community and is comfortable as an unemployed bum, you have to ask yourself, “Am I really doing this?” But in the end, it was my love for the show and my wife’s love for the show that drowned out all those other concerns and we said, “What the heck? Let’s do it!” I’m glad we did.

While you were thinking about it, did you have to read the scripts for the episodes you would direct?

Yes, they sent me the scripts and I loved them. I asked for all the scripts they had written so far so I could follow what was going on as a whole. They were very generous in sending it, as long as it was done under strict secrecy. They’re not quite nuclear codes, but they’re pretty close. The fascinating thing about our culture is how many people want to immerse themselves in it rather than waiting to be surprised by what they see on the screen. I’m the ultimate no-spoilers guy. When I was in high school I went to “Soylent Green” and some assholes said before I went in, “Oh, Soylent Green are people.” I’ve never forgiven them. It’s part of the reason I’m not on social media and also reluctant to watch trailers. Too much is given away. If I’m interested in something, I want to enjoy it fresh.

Did you notice anything different in your filmmaking process returning to the director’s chair after twelve or thirteen years?

Oh god, yes. It wasn’t until “Mob City” that I finally switched from film to digital, and I ended up loving it. It helps a director a lot because you never have to call a cut. Every time a director mentions “cut,” the energy on a set disappears. Now you can just say: “Everyone as one again” and the energy stays where it should be. The actors stay in the same headspace as you throw three or four takes before calling cut. I love that aspect of it. Filmmakers have so many new tools now. [On “Stranger Things”] our DP was shooting with a techno crane, which can be frustrating at times but can do brilliant things. The cameraman is also no longer where you would think he is. He no longer stands near the camera, but often in a tent on the side. The same goes for the one who draws the focus. They spend more and more time next to the camera. So much has been outsourced to these technological devices.

But I have to commend this crew. They were absolutely great across the board. A director’s relationship with his crew is very important to me, especially the DP and AD, and I had a great experience with both. Brett Jutkiewicz was my DP and Lisa Rowe was my AD, and they were both fantastic. The Duffers know how to put a show together, and some of these people have been with them since season 1. There were so many resources around me that could help me answer any question. It was a great collaborative atmosphere.

Episode 3 features many emotional scenes, including heavy dialogue 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 that dramatic dynamic?

I’ve always said that if you have the right actor, they don’t need to hear much from a director. I learned that during my very first feature film, ‘The Shawshank Redemption’. Sometimes a director can get in an actor’s ear too much. Tim Robbins, for example, enjoys conversations with the director. Not Morgan Freeman. He’s a very intuitive, very instinctive actor and he does brilliant work. They both do. I remember half way through the shoot I was talking to Morgan about the scene we were going to film next, and I saw his eyes glaze over. He was just being very polite and listening to me, so I stopped myself and said, “Morgan, you really don’t need to hear this, do you?” and he says, “No, just tell me where to stand and how to turn. That kind of thing.” From then on I let him do his work. It was a great lesson for an aspiring director. Every actor is different.

Did the cast of ‘Stranger Things’ prefer more dialogue and direction, or did most of them take charge of their own performances? Or was there a mix?

They had been doing it for so long, especially the young ones who were around 10 when they started and are now young adults. They’ve been with these characters half their lives, so they’re quite in the know. There were small, physical things that needed guidance, like when Dustin did [Gaten Matarazzo] comes out of the van and drops this big bag of tools right in front of the lens. Getting it to fall exactly where the camera will land took a lot of practice and blocking. I think there were five takes or something like that. There were also things like Caleb [McLaughlin] running down the stairs after throwing acetone at the Demogorgon. I needed him to pause and look back at some point because I knew something would be added in the post that needed some extra time. You do all this math on set to make sure it fits together properly. That’s usually where I get more specific and precise with an actor, but other than that, they know their characters. As a director, my job is to provide the raw materials for what you need in the editing room and also to be the head cheerleader on set. You encourage and encourage everyone. A little bit of encouragement or recognition from the director can give you another 24 hours of exhausting work

Has this experience made you want to direct more, or do you feel comfortable retiring again?

I really enjoy being retired. However, I also enjoy being on set with creative people, as long as I’m not fighting a battle with an evil empire, studio or network. I bless Netflix for being so supportive. When you have a good situation like that and it can be about the creative process, then it’s a joy. So my long-winded answer boils down to: it depends. If there is a friendly situation and I am enthusiastic enough about the material, then that is certainly a possibility. I’m not ruling anything out, but it has to be something special. ‘Stranger Things’ was a special opportunity for me to be a small part of a very big, wonderful thing that so many people love. I’m grateful to the Duffers for that opportunity. It will always be a great memory working with them and that cast and crew. I’ll enjoy seeing where their careers take them. They all have so much potential and they are such good people.

I know you don’t like spoilers, but what can we look forward to in episode 5?

I think you’re going to get some really cool stuff with Henry in episode 5. I don’t think I’m really spoiling anything by saying that you can see in Episode 3 that we get more into his story. It was a great thrill to do. We have a lot of good acting and good scenes that you can look forward to.

This interview has been edited and condensed.