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- The poster
that came out in Europe,

3
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at least in England,
I believe,

4
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before the movie was released
in Europe said,

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"The wave of terror
that swept across America."

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And Kubrick controlled
the posters very carefully.

7
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Now,
it made you do a double take.

8
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I remember seeing it in Europe.

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I was the Rome Bureau Chief
at the time for ABC News.

10
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And I remember looking at it.

11
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It said, "The wave of terror
that swept across America."

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What's he talking about?

13
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And you'd sort of think
that he was talking about

14
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the impact
of the book The <i>Shining.</i>

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Maybe.

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The impact of the movie
that had just opened over there?

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Maybe.

18
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It didn't quite fit.

19
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The wave of terror
that swept across America

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from Portland, Maine,
to Portland, Oregon,

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was the genocidal armies
and the white men with their ax

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clearing it all and bringing in
extractive industries,

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among many other good things
as well.

24
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But that was the wave of terror
that swept across America,

25
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terrifying, of course,
the American Indians.

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- I went in to see this movie in
Leicester Square Movie Theater,

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right near
Leicester Square in London.

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And I remember it
quite clearly from...

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I can even remember the seats
we were sitting in.

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If I went back to that theater,
I could point them to you,

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sort of near the back
and over to the left.

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From the moment of the opening
astonishing helicopter shot,

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I was terrified.

34
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I had no idea what was coming.

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I remember sort of sitting
on the front edge

36
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of my theater seat there
to keep from falling off.

37
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And I remember gripping my
belt buckle with my left hand,

38
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I think it was...

39
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yes, my left hand,
sort of to keep from falling off

40
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the edge of the seat
and to try to control my terror

41
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as I watched this movie.

42
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I had no idea what was coming.

43
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I hadn't read the book.

44
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I had barely seen
any of the posters.

45
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And I remember that I was
stunned when the movie was over.

46
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We left the theater, went in...

47
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down into
our underground car park

48
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to get into the car to leave.

49
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And as we were driving up
out of the car park,

50
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I was sitting
in the back left seat.

51
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I was thinking, "What was that?
What was that?

52
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"What was it?
What was it?

53
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What was it?"

54
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And I think
my visual imagination

55
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looked at that
Calumet baking powder can,

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the one right behind
Hallorann's head

57
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when he was talking to Danny.

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I knew what "calumet" meant.

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It meant "peace pipe."

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And I thought to myself,
"peace pipe, Indians.

61
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"Oh, my goodness,

62
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they're all over the place
in that movie."

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- The loser
has to keep America clean.

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- And I suddenly
said to my friends,

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"That movie
was about the genocide

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of the American Indians."

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And they said,
"What are you talking about?"

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And I started explaining it,

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because I'd noticed
the Calumet baking soda can.

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In the first... the first time
we seen one,

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it's a single
baking powder can straight on.

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And you can see the whole word,
"Calumet,"

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so there's no duplicity,

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like the little girls
represent later.

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This is an honest truth,

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an honest peace pipe
between them.

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The other time we see
the Calumet baking powder cans

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is when they're
very carefully placed

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behind Jack Nicholson's head
when he's talking to Grady.

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- No need to rub it in,
Mr. Grady.

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I'll deal with that situation
as soon as I get out of here.

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- There's about six
or seven of them stacked up,

83
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and they're
all turned different ways,

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and you can't read
any one of them completely.

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It's... I've always interpreted
those as being broken,

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dishonest peace pipe treaties.

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They're not... these two guys,
Grady and Jack,

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are not being honest
with each other.

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Grady is trying to get Jack
to go kill his family

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and commit genocide,

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in the larger sense
of the movie.

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You know, I mean,
Kubrick often,

93
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in many of his movies,

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he will end them
with a puzzle

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so that he forces you to go out
of the theater saying,

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"What was that about?"

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And he would put things
in the scenes

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that he knows will be,
among other things,

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like confirmers when people
start to try to figure out

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what the movie is about.

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And we know he took
this kind of care.

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There's a photograph
in one of the books

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that actually shows Kubrick

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carefully arranging
objects on the shelves

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in that dry goods room.

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I thought afterwards,

107
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"How come I saw this and
a lot of other people didn't?"

108
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And I've thought about it.

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It's a combination of factors.

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First, I grew up in Chicago
and, therefore,

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just north
of the Calumet Harbor

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and spent summers up
in the sand dunes of Michigan,

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around on the other side
of Lake Michigan.

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My father
took me and my sister out

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to collect little bits
of Indian pottery.

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I'd already...
I'd already covered,

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at that point in 1980,

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five years
of the Lebanese civil war.

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I was, at that point,
covering John Paul ll.

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I was the Rome Bureau Chief.

121
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And listening
to what he was saying about...

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because he had experienced
the Holocaust at its epicenter

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and also other horrors.

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And so all of those factors

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were very much alive in my mind

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when we went
to see The Shining,

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which I just thought was going
to be some kind of horror movie

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by this great moviemaker.

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And all of those coming together
along with the little key,

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the Calumet baking soda can,

131
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is why I just happened
to tune to it

132
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as we were driving up out of
that underground parking garage

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just off Leicester Square.

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- I first saw the movie in 1980
when it first came out

135
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and saw it probably two times.

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I can say that I remembered
the skier poster.

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That is one thing
that really stuck with me.

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And the window.

139
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The window in the office,

140
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that's another thing
that really stuck with me.

141
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I remember, you know,
in the newspapers afterwards,

142
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people being disappointed.

143
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And I remember people
that I knew,

144
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yes, in dialogue afterwards,

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being disappointed that it was
not more a horror film.

146
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Well, no Kubrick film's
really just a regular movie.

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I understood that from,

148
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well, when I was 10 years old
and I first saw 2001.

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I walked away.

150
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I thought, "This is a film

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that's supposed
to make me think."

152
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- I had my first
religious experience

153
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seeing the film
<i>2001: A Space Odyssey in 1968.</i>

154
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I was a smart kid
and liked art,

155
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but I really
did not like movies

156
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and thought that they
were really a substandard art.

157
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And, you know, films like

158
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<i>My Fair Lady
and Doctor Dolittle were out.</i>

159
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And it was a rather pathetic
time in the '60s for films.

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And my girlfriend,
she pulled up

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and told me that she'd
seen a movie the night before

162
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and she wanted to see it again.

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So she took me to the theater,
the Cinerama Dome,

164
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and I watched it.

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And I had never in my life
envisioned that a movie

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could do what this movie
was doing.

167
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And it was showing me things
that I had never seen,

168
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and it was
intellectually challenging.

169
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And it was an artistic
masterpiece in every way,

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from the soundtrack to
the visuals to the story line.

171
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And when the movie ended,
I couldn't get out of my seat.

172
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I was frozen in the seat,

173
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completely paralyzed
by what I'd just witnessed.

174
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And the usher actually
had to come and get me out.

175
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And I was the last person,
me and her.

176
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And I staggered
out of the theater

177
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completely changed
as a human being

178
00:09:24,564 --> 00:09:25,816
and decided at that moment

179
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that the only thing
that I wanted to do

180
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for the rest of my life

181
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was to make films
in one fashion or another.

182
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And so I have done that.

183
00:09:35,116 --> 00:09:40,037
So I owe Stanley Kubrick and
his film 2001: <i>A</i> Space Odyssey

184
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everything for everything that
I have become in my life, so...

185
00:10:02,018 --> 00:10:03,861
- I saw a number
of Kubrick films

186
00:10:03,862 --> 00:10:06,980
before I had
an academic interest in him.

187
00:10:06,981 --> 00:10:11,527
And then I went to see
<i>The Shining in 1980.</i>

188
00:10:11,528 --> 00:10:14,368
And frankly,
I didn't think that much of it.

189
00:10:14,369 --> 00:10:16,867
I thought the other
Kubrick films that I'd seen

190
00:10:16,868 --> 00:10:19,868
were far superior.

191
00:10:19,869 --> 00:10:24,581
But as I thought
about the film afterwards...

192
00:10:24,582 --> 00:10:26,753
and even when
I wasn't thinking about it...

193
00:10:26,754 --> 00:10:29,004
there were things
that bothered me about it.

194
00:10:29,005 --> 00:10:32,214
It seemed
as if I had missed something.

195
00:10:32,215 --> 00:10:35,384
And so I went back
to see it again.

196
00:10:35,385 --> 00:10:39,054
And I began to see
patterns and details

197
00:10:39,055 --> 00:10:42,057
that I hadn't noticed before.

198
00:10:42,058 --> 00:10:46,395
And so I kept watching the film
again and again and again.

199
00:10:46,396 --> 00:10:49,356
And since
I'm trained as an historian

200
00:10:49,357 --> 00:10:51,817
and my special expertise

201
00:10:51,818 --> 00:10:56,697
is in the history of Germany
and Nazi Germany in particular,

202
00:10:56,698 --> 00:10:58,291
I became
more and more convinced

203
00:10:58,292 --> 00:11:02,077
that there is,
in this film,

204
00:11:02,078 --> 00:11:06,049
a deeply laid subtext
that takes on The Holocaust.

205
00:11:07,917 --> 00:11:12,838
I think
it probably was the typewriter,

206
00:11:12,839 --> 00:11:16,925
which was a German brand,
which might seem arbitrary,

207
00:11:16,926 --> 00:11:20,387
but by that time,
I knew enough about Kubrick

208
00:11:20,388 --> 00:11:26,101
that most anything in his films
can't be regarded as arbitrary,

209
00:11:26,102 --> 00:11:29,149
that anything...
especially objects and colors

210
00:11:29,150 --> 00:11:33,027
and music and anything else,
probably have some intentional

211
00:11:33,028 --> 00:11:36,111
as well as
unintentional meaning to them.

212
00:11:36,112 --> 00:11:37,329
And so that struck me.

213
00:11:37,330 --> 00:11:39,072
Why a German typewriter?

214
00:11:39,073 --> 00:11:41,158
And in connection with that,

215
00:11:41,159 --> 00:11:47,039
I began to see the number 42
appear in the film.

216
00:11:47,040 --> 00:11:50,834
And for a German historian,
if you put the number 42

217
00:11:50,835 --> 00:11:53,088
and a German typewriter
together,

218
00:11:53,089 --> 00:11:54,463
you get the Holocaust,

219
00:11:54,464 --> 00:11:59,885
because it was in 1942
that the Nazis made the decision

220
00:11:59,886 --> 00:12:03,513
to go ahead and exterminate
all the Jews they could.

221
00:12:03,514 --> 00:12:07,267
And they did so in
a highly mechanical, industrial,

222
00:12:07,268 --> 00:12:09,728
and bureaucratic way.

223
00:12:09,729 --> 00:12:13,649
And so the juxtaposition
of the number 42

224
00:12:13,650 --> 00:12:16,574
and the typewriter was really
where it started for me

225
00:12:16,575 --> 00:12:19,988
in terms of the historical
content of the film.

226
00:12:19,989 --> 00:12:22,491
Of course "adler"
in German means "eagle."

227
00:12:22,492 --> 00:12:24,995
And eagle, of course,
is a symbol of Nazi Germany.

228
00:12:24,996 --> 00:12:27,290
It's also a symbol
of the United States.

229
00:12:27,291 --> 00:12:29,507
And Kubrick
generally has recourse to eagles

230
00:12:29,508 --> 00:12:31,297
to symbolize state power.

231
00:12:36,839 --> 00:12:40,217
Kubrick read Raul Hilberg's

232
00:12:40,218 --> 00:12:42,558
<i>The Destruction
of the European Jews.</i>

233
00:12:42,559 --> 00:12:44,897
And Hilberg's
major theme in there

234
00:12:44,898 --> 00:12:49,559
is that he focuses
on the apparatus of killing.

235
00:12:49,560 --> 00:12:52,154
And he emphasizes
how bureaucratic it was

236
00:12:52,155 --> 00:12:56,191
and how it was a matter
of lists and typewriters.

237
00:12:56,192 --> 00:12:58,819
Spielberg picked that up in
<i>Schindler's List, of course.</i>

238
00:12:58,820 --> 00:13:02,572
I mean, the film begins
with typewriters and lists

239
00:13:02,573 --> 00:13:04,700
and ends with a list,
of course.

240
00:13:04,701 --> 00:13:07,119
And so that informs...

241
00:13:07,120 --> 00:13:09,835
and I had a chance
to talk to Raul Hilberg.

242
00:13:09,836 --> 00:13:11,170
He visited Albion College.

243
00:13:11,171 --> 00:13:13,542
And he said that he and Kubrick
corresponded about this.

244
00:13:13,543 --> 00:13:16,672
And the fact that he read it
then, in the 1970s,

245
00:13:16,673 --> 00:13:19,049
when there was a big wave
of interest in Hitler

246
00:13:19,050 --> 00:13:22,342
and the Holocaust and the Nazis,
I think...

247
00:13:22,343 --> 00:13:25,387
I think just tells us
that that typewriter,

248
00:13:25,388 --> 00:13:27,014
that German typewriter...

249
00:13:27,015 --> 00:13:30,144
which by the way, changes color
in the course of the film,

250
00:13:30,145 --> 00:13:32,733
which typewriters
don't generally do...

251
00:13:32,734 --> 00:13:34,857
is terribly,
terribly important

252
00:13:34,858 --> 00:13:37,700
as a referent to that
particular historical event.

253
00:13:50,580 --> 00:13:54,124
- I worked in a film archive
for a decade,

254
00:13:54,125 --> 00:13:56,918
kind of like
fast-forwarding

255
00:13:56,919 --> 00:14:01,256
through World War II
ten times a day.

256
00:14:01,257 --> 00:14:03,008
But, you know, like,
when you see things

257
00:14:03,009 --> 00:14:04,676
over and over and again,

258
00:14:04,677 --> 00:14:06,553
their meanings change for you.

259
00:14:06,554 --> 00:14:14,853
Like, when you see these... see,
like, World War ll newsreels,

260
00:14:14,854 --> 00:14:17,606
like, after a while,
you come to realize

261
00:14:17,607 --> 00:14:20,400
that it's all faked on film.

262
00:14:20,401 --> 00:14:25,197
You are not seeing troops
storming Normandy.

263
00:14:25,198 --> 00:14:30,285
You're seeing troops
storming a beach in Hollywood.

264
00:14:30,286 --> 00:14:35,123
You know, like, you're not
seeing a plane flying to Japan.

265
00:14:35,124 --> 00:14:40,130
You're seeing a plane flying
over, you know, New Mexico.

266
00:14:42,298 --> 00:14:46,098
What you're really being shown
is, like, staged heroism.

267
00:14:46,099 --> 00:14:50,680
You know, like, you're seeing
men moving with machines,

268
00:14:50,681 --> 00:14:54,059
but you're not seeing what
they're talking about.

269
00:14:54,060 --> 00:14:57,781
And I think that that's
something that Kubrick plays on.

270
00:14:57,782 --> 00:15:02,901
Like, he plays on your
acceptance of visual infor...

271
00:15:02,902 --> 00:15:06,321
and also your ignorance
of visual information.

272
00:15:06,322 --> 00:15:10,742
Like he'll often, like,
put little special clues

273
00:15:10,743 --> 00:15:13,838
that you see,
like, in the corner.

274
00:15:17,291 --> 00:15:21,503
Every scene,
there's an impossibility,

275
00:15:21,504 --> 00:15:24,840
like the TV doesn't have a cord

276
00:15:24,841 --> 00:15:27,390
or even something as simple as,
like, them...

277
00:15:27,391 --> 00:15:30,846
they, like...
they bring too much luggage up.

278
00:15:30,847 --> 00:15:34,558
They, like... Jack, you know,
glances over at a pile

279
00:15:34,559 --> 00:15:36,027
of their luggage
that they brought,

280
00:15:36,028 --> 00:15:39,271
and ifs about the size
of a car.

281
00:15:39,272 --> 00:15:40,272
You know, a lot of it is jokes.

282
00:15:40,273 --> 00:15:43,191
Like, they're taking the tour.

283
00:15:43,192 --> 00:15:47,612
They're crossing the street
from the maze

284
00:15:47,613 --> 00:15:49,453
to go check out the garage.

285
00:15:49,454 --> 00:15:52,534
Like, a car
is just about to hit them.

286
00:15:52,535 --> 00:15:54,536
And then it cuts right before.

287
00:16:06,174 --> 00:16:08,842
- I had anticipated the film

288
00:16:08,843 --> 00:16:11,553
and had read
the Stephen King novel

289
00:16:11,554 --> 00:16:16,057
before the film came out and
found it a very appealing story.

290
00:16:16,058 --> 00:16:18,393
And I had spent
a lot of time

291
00:16:18,394 --> 00:16:23,231
at the Stanley Hotel
in Estes Park, Colorado,

292
00:16:23,232 --> 00:16:27,157
which is where he was inspired
to write the book The Shining.

293
00:16:27,158 --> 00:16:31,406
And so I, you know... I knew
a little bit of the background.

294
00:16:31,407 --> 00:16:33,246
And when
Kubrick's film came out,

295
00:16:33,247 --> 00:16:35,586
I was first in line to see it,
of course.

296
00:16:35,587 --> 00:16:38,872
And I was just
really disappointed

297
00:16:38,873 --> 00:16:40,999
and walked out of the theater

298
00:16:41,000 --> 00:16:43,674
wondering what the hell
I had just witnessed.

299
00:16:43,675 --> 00:16:50,675
And, I... actually,
my reverence for Stanley Kubrick

300
00:16:50,676 --> 00:16:52,678
diminished after that.

301
00:16:54,430 --> 00:16:58,600
I was disappointed, but I still
watched it every few years.

302
00:16:58,601 --> 00:17:02,105
I couldn't understand why I was
so attracted to watching a film

303
00:17:02,106 --> 00:17:04,105
that I actually didn't like.

304
00:17:04,106 --> 00:17:08,026
And now
in all these years later,

305
00:17:08,027 --> 00:17:11,613
I know why it is a great film.

306
00:17:11,614 --> 00:17:13,073
It is a masterpiece,

307
00:17:13,074 --> 00:17:15,668
but not for the reasons
that most people think.

308
00:17:19,830 --> 00:17:25,126
We are dealing with a guy
who has a 200 IQ.

309
00:17:25,127 --> 00:17:27,837
I believe
that when Stanley Kubrick

310
00:17:27,838 --> 00:17:33,343
<i>finished with Barry Lyndon,
he was bored.</i>

311
00:17:33,344 --> 00:17:36,846
He had conquered
the filmmaking landscape.

312
00:17:36,847 --> 00:17:41,518
He had succeeded in making
masterpiece after masterpiece,

313
00:17:41,519 --> 00:17:44,354
and he was bored.

314
00:17:44,355 --> 00:17:47,065
<i>Barry Lyndon
is</i> a <i>boring movie.</i>

315
00:17:47,066 --> 00:17:48,613
It is wonderfully shot.

316
00:17:48,614 --> 00:17:50,610
It is beautifully costumed.

317
00:17:50,611 --> 00:17:54,739
But it is a film
made by a guy who is bored.

318
00:17:54,740 --> 00:17:57,450
And I could see that.

319
00:17:57,451 --> 00:18:01,830
And so I think Stanley
retreated after Barry Lyndon.

320
00:18:01,831 --> 00:18:06,960
And he began working on
a new kind of film,

321
00:18:06,961 --> 00:18:11,214
a film that
had never been made before,

322
00:18:11,215 --> 00:18:14,509
a film that was made
by a bored genius

323
00:18:14,510 --> 00:18:21,099
who had thoroughly
emptied the jug of everything

324
00:18:21,100 --> 00:18:23,319
that could be done
in filmmaking.

325
00:18:23,320 --> 00:18:26,146
And he was looking
for the next thing.

326
00:18:26,147 --> 00:18:31,526
And what he did was he began
reading Subliminal Seduction

327
00:18:31,527 --> 00:18:34,952
and a number of other books
which were about how advertisers

328
00:18:34,953 --> 00:18:37,866
were injecting...

329
00:18:37,867 --> 00:18:40,827
injecting images,
subliminal images,

330
00:18:40,828 --> 00:18:44,581
into advertising
to sell products more.

331
00:18:44,582 --> 00:18:48,293
<i>- Suggestible trends.</i>

332
00:18:48,294 --> 00:18:51,218
- You know, there'll be
an ad for Gilbey's Gin,

333
00:18:51,219 --> 00:18:55,216
and inside, the ice cubes
will be various sex organs

334
00:18:55,217 --> 00:19:00,815
and things to add
a subliminal appeal to the ad.

335
00:19:03,434 --> 00:19:05,935
Kubrick went
to these advertisers,

336
00:19:05,936 --> 00:19:09,064
and he asked them
what their methods were.

337
00:19:09,065 --> 00:19:11,107
And then he took those methods

338
00:19:11,108 --> 00:19:15,153
and he applied them
to The Shining.

339
00:19:15,154 --> 00:19:19,574
<i>Inside The Shining are
hundreds of subliminal images</i>

340
00:19:19,575 --> 00:19:22,410
and shot line-ups.

341
00:19:22,411 --> 00:19:25,830
And what
these images are telling

342
00:19:25,831 --> 00:19:32,379
is an extremely disturbing
story about sexuality.

343
00:19:32,380 --> 00:19:36,549
And the subtext of the story,

344
00:19:36,550 --> 00:19:40,053
besides the other subtexts
of the story,

345
00:19:40,054 --> 00:19:46,559
is a story of haunted
phantoms and demons

346
00:19:46,560 --> 00:19:52,107
who are sexually attracted
to humans

347
00:19:52,108 --> 00:19:55,610
and are feeding off of them.

348
00:19:55,611 --> 00:20:00,490
You'd have to be able to be
a complete fanatic like I am

349
00:20:00,491 --> 00:20:02,117
in order to find all this,

350
00:20:02,118 --> 00:20:04,587
but, you know,
I'll give you my favorite.

351
00:20:04,588 --> 00:20:08,790
I'm only gonna give you one,
but I'll give you my favorite.

352
00:20:08,791 --> 00:20:12,669
When Jack meets
Stewart Ullman in the office

353
00:20:12,670 --> 00:20:14,798
at the very beginning
of the movie

354
00:20:14,799 --> 00:20:18,470
and he reaches over to shake
Jack Nicholson's hand...

355
00:20:18,471 --> 00:20:21,562
and so step through
that scene frame by frame.

356
00:20:21,563 --> 00:20:23,555
And the minute,
the moment,

357
00:20:23,556 --> 00:20:27,809
the frame that he
and Jack Nicholson touch hands

358
00:20:27,810 --> 00:20:31,479
and right after the line
that Barry Nelson says,

359
00:20:31,480 --> 00:20:34,649
which is, "Nice to see you,"

360
00:20:34,650 --> 00:20:41,030
you can see
that there's a paper...

361
00:20:41,031 --> 00:20:44,701
a paper tray on the desk.

362
00:20:44,702 --> 00:20:48,955
And as soon as they touch hands,
the paper tray

363
00:20:48,956 --> 00:20:53,543
turns into a very large
straight-on hard-on

364
00:20:53,544 --> 00:20:55,842
coming out of Barry nelson.

365
00:20:57,089 --> 00:20:59,048
Yeah, it's hilarious.

366
00:20:59,049 --> 00:21:04,012
It's a joke... a very serious
joke... but a joke by Stanley.

367
00:21:04,013 --> 00:21:06,723
And there's
many of these in the film.

368
00:21:06,724 --> 00:21:11,144
And very disturbing,
some of them.

369
00:21:11,145 --> 00:21:14,192
And this will all be in my film,
Kubrick the Magician.

370
00:21:14,193 --> 00:21:15,487
I'll give you one more.

371
00:21:15,488 --> 00:21:17,692
This one's harder to find, okay?

372
00:21:17,693 --> 00:21:20,365
And you have to know what
Stanley Kubrick looked like

373
00:21:20,366 --> 00:21:23,578
<i>during the making</i> of
<i>The Shining to know this one.</i>

374
00:21:23,579 --> 00:21:25,827
But if you go
to the opening credits

375
00:21:25,828 --> 00:21:27,660
and you pan the frame...

376
00:21:27,661 --> 00:21:30,246
you... you go through the frames,

377
00:21:30,247 --> 00:21:34,167
right after it says
"Directed by Stanley Kubrick,"

378
00:21:34,168 --> 00:21:38,880
as soon as his name
passes off the frame,

379
00:21:38,881 --> 00:21:44,511
stop and you will see that the
clouds have Stanley Kubrick

380
00:21:44,512 --> 00:21:49,390
airbrushed into them,
his face...

381
00:21:49,391 --> 00:21:52,732
with the beard and the wild hair
and the whole thing.

382
00:21:52,733 --> 00:21:54,774
I know this one's
a little harder to find.

383
00:21:54,775 --> 00:21:56,067
And I will have to...

384
00:21:56,068 --> 00:21:59,319
I will have to Photoshop
this one to show people it,

385
00:21:59,320 --> 00:22:03,198
but there is definitely the
photograph of Stanley Kubrick

386
00:22:03,199 --> 00:22:07,998
in one frame
airbrushed into the clouds.

387
00:22:10,663 --> 00:22:13,041
- In most films,
a dissolve is used

388
00:22:13,042 --> 00:22:16,835
to indicate a long passage
of time between two scenes.

389
00:22:16,836 --> 00:22:20,259
<i>But in The Shining,
the dissolves go on for so long</i>

390
00:22:20,260 --> 00:22:22,634
that they create
a superimposition,

391
00:22:22,635 --> 00:22:27,262
where different scenes seem to
be interacting with each other.

392
00:22:27,263 --> 00:22:31,266
For example,
you have the exterior image...

393
00:22:31,267 --> 00:22:35,395
a tracking shot of the lobby

394
00:22:35,396 --> 00:22:39,816
of the camera
moving along the western wall

395
00:22:39,817 --> 00:22:42,944
south towards the entrance.

396
00:22:42,945 --> 00:22:49,784
And you see
a janitor mopping the floor,

397
00:22:49,785 --> 00:22:52,370
but it looks like he's...

398
00:22:52,371 --> 00:22:54,465
it looks like
a he's a giant, mopping,

399
00:22:54,466 --> 00:22:58,167
like, clearing the forest

400
00:22:58,168 --> 00:23:03,506
because he's mopping, like,
a vacant area in the forest.

401
00:23:03,507 --> 00:23:07,677
And then the...

402
00:23:07,678 --> 00:23:12,098
then the ladder lines up...

403
00:23:12,099 --> 00:23:16,769
lines up with the pyramid form
of the exterior of the hotel,

404
00:23:16,770 --> 00:23:22,150
which, in the exterior set,
disappears.

405
00:23:22,151 --> 00:23:23,364
Like, we don't see...

406
00:23:23,365 --> 00:23:26,204
we only see that
in the Timberline exteriors.

407
00:23:26,205 --> 00:23:29,824
But the England movie set
exteriors of the hotel,

408
00:23:29,825 --> 00:23:31,910
like, the pyramid is missing,

409
00:23:31,911 --> 00:23:37,665
and it seems as if the hotel

410
00:23:37,666 --> 00:23:44,464
then takes both sides
of the Timberline Hotel

411
00:23:44,465 --> 00:23:47,685
and then kind of, like,
makes a composite of it.

412
00:23:47,686 --> 00:23:50,803
So it's... you know,
it's a perceptual shift

413
00:23:50,804 --> 00:23:55,016
of making people
look like giants,

414
00:23:55,017 --> 00:24:00,939
also making the hotel look
larger or smaller than it is.

415
00:24:00,940 --> 00:24:03,284
I mean, these things
kind of litter the movie.

416
00:24:03,285 --> 00:24:06,736
But then the shot goes on.

417
00:24:06,737 --> 00:24:08,780
We see a...

418
00:24:08,781 --> 00:24:14,959
we see a janitor pushing
a folded-up bed on wheels.

419
00:24:17,414 --> 00:24:21,209
And then he's followed
by another...

420
00:24:21,210 --> 00:24:25,296
he's followed by another guy,
who's carrying, like, one...

421
00:24:25,297 --> 00:24:27,757
like, one coffee table?

422
00:24:27,758 --> 00:24:31,056
And then another... like, another
guy is carrying one chair.

423
00:24:31,057 --> 00:24:35,229
Like, where are these guys going
with, like, these light loads,

424
00:24:35,230 --> 00:24:36,224
you know?

425
00:24:38,310 --> 00:24:42,605
Then we see Jack sitting
on a chair, eating lunch.

426
00:24:42,606 --> 00:24:46,150
And the manager
and his assistant crosses paths

427
00:24:46,151 --> 00:24:47,819
with two women who...

428
00:24:47,820 --> 00:24:50,448
and just as he's
in the corner of the screen...

429
00:24:50,449 --> 00:24:52,243
you just see it for a second.

430
00:24:52,244 --> 00:24:54,412
You see one of the women
is wearing, like, a 13,

431
00:24:54,413 --> 00:24:55,662
a number 13 jersey?

432
00:24:58,122 --> 00:24:59,122
Can you hear that?

433
00:24:59,123 --> 00:25:01,916
My boy, yelling?

434
00:25:01,917 --> 00:25:02,917
Hold on one second.

435
00:25:02,918 --> 00:25:04,088
I'm gonna see if I can...

436
00:25:04,089 --> 00:25:05,929
I can see
if I can calm him down.

437
00:25:12,094 --> 00:25:14,762
You know,
so, like, he's like,

438
00:25:14,763 --> 00:25:16,764
leaning back
and eating a sandwich.

439
00:25:16,765 --> 00:25:19,392
And he's got, you know,
a magazine in his lap.

440
00:25:19,393 --> 00:25:22,520
And as he stands up
to greet them,

441
00:25:22,521 --> 00:25:23,943
he, like, throws it down.

442
00:25:23,944 --> 00:25:26,107
And if you look at"
look at...

443
00:25:26,108 --> 00:25:28,401
look at it, you know,
close up,

444
00:25:28,402 --> 00:25:32,989
it's an actual
Playgirl magazine.

445
00:25:32,990 --> 00:25:36,369
Yeah, a <i>Playgirl magazine
in the lobby of a hotel</i>

446
00:25:36,370 --> 00:25:39,120
right in front of his boss,
like on his first day at work.

447
00:25:41,457 --> 00:25:42,999
Yeah.

448
00:25:43,000 --> 00:25:46,800
Like, the cover is like, people
getting ready for New Year's.

449
00:25:46,801 --> 00:25:49,297
There's an article about incest.

450
00:25:49,298 --> 00:25:52,846
At the beginning of the film,
Danny's been physically abused.

451
00:25:52,847 --> 00:25:54,095
But there's a suggestion

452
00:25:54,096 --> 00:25:56,643
that he's been
sexually abused as well.

453
00:25:59,725 --> 00:26:02,935
You know, so like,
just in that one...

454
00:26:02,936 --> 00:26:09,567
one shot, there's all these,
like, you know, complex things

455
00:26:09,568 --> 00:26:10,863
going on in the background,

456
00:26:10,864 --> 00:26:13,157
like things
that are choreographed

457
00:26:13,158 --> 00:26:14,498
to match up exactly.

458
00:26:14,499 --> 00:26:16,240
Like, we see a guy...

459
00:26:16,241 --> 00:26:20,161
we see a guy, carrying a...

460
00:26:20,162 --> 00:26:25,833
entering the room,
carrying a rug.

461
00:26:25,834 --> 00:26:28,506
And by the time
the scene is just ending,

462
00:26:28,507 --> 00:26:30,598
we see him
walking up the stairs.

463
00:26:30,599 --> 00:26:35,051
Like, he's crossed
the entire place,

464
00:26:35,052 --> 00:26:36,052
you know, timed exactly.

465
00:26:36,053 --> 00:26:37,053
I don't even...

466
00:26:40,599 --> 00:26:41,600
Yeah.

467
00:26:48,524 --> 00:26:51,651
- When Ullman
is leading the Torrances

468
00:26:51,652 --> 00:26:55,738
out of the elevator
and into the Colorado Lounge

469
00:26:55,739 --> 00:27:01,035
for the first time,
there's a pile of suitcases.

470
00:27:01,036 --> 00:27:03,955
And in the dissolve
into that scene,

471
00:27:03,956 --> 00:27:08,417
the scene before,
a group of tourists

472
00:27:08,418 --> 00:27:09,757
are standing in the lobby.

473
00:27:09,758 --> 00:27:13,007
And those tourists
dissolve into the suitcases.

474
00:27:13,008 --> 00:27:15,179
Now, as an historian
of the Holocaust,

475
00:27:15,180 --> 00:27:17,844
I find that
very, very striking

476
00:27:17,845 --> 00:27:19,222
and certainly not accidental

477
00:27:19,223 --> 00:27:22,682
'cause he's using those
sort of cross-dissolves.

478
00:27:22,683 --> 00:27:25,104
Now, that could be,
along with the ladder,

479
00:27:25,105 --> 00:27:27,821
where he's trying to make
substantive connections

480
00:27:27,822 --> 00:27:29,531
as well as formal ones.

481
00:27:36,405 --> 00:27:37,907
- Oh, the window
in Ullman's office,

482
00:27:37,908 --> 00:27:39,954
it is absolutely beautiful.

483
00:27:42,244 --> 00:27:43,712
The casual viewer
isn't going to see

484
00:27:43,713 --> 00:27:46,372
so many things
in Kubrick's films,

485
00:27:46,373 --> 00:27:49,377
although I think they may
register unconsciously.

486
00:27:49,378 --> 00:27:51,297
You know, but they're not
going to, you know,

487
00:27:51,298 --> 00:27:52,759
perceive
perhaps these things

488
00:27:52,760 --> 00:27:53,926
because as I've said,

489
00:27:53,927 --> 00:27:56,966
he presents them
as being real.

490
00:27:56,967 --> 00:27:58,262
You know, it's realism.

491
00:27:58,263 --> 00:28:00,011
And it's not
your typical horror...

492
00:28:00,012 --> 00:28:01,264
you don't have a horror film

493
00:28:01,265 --> 00:28:03,311
except for this one section
at the end,

494
00:28:03,312 --> 00:28:07,643
right where Wendy walks in
and the lobby is blue

495
00:28:07,644 --> 00:28:09,315
and you've got the cobwebs
all around.

496
00:28:09,316 --> 00:28:10,483
And it's almost like

497
00:28:10,484 --> 00:28:12,401
a Saturday morning
kind of horror film

498
00:28:12,402 --> 00:28:13,946
suddenly there for a second.

499
00:28:13,947 --> 00:28:15,401
And you kind of go.

500
00:28:15,402 --> 00:28:18,743
"Ooh, what is this with
the skeletons and the cobwebs?"

501
00:28:18,744 --> 00:28:20,284
And it's kind of cheesy.

502
00:28:20,285 --> 00:28:22,829
But then, after that,
following that,

503
00:28:22,830 --> 00:28:25,122
you've got her going down
the red hallway,

504
00:28:25,123 --> 00:28:26,667
which...
on the big screen,

505
00:28:26,668 --> 00:28:28,289
that's petrifying.

506
00:28:28,290 --> 00:28:30,509
So I think the kind of
cheesiness before it

507
00:28:30,510 --> 00:28:32,628
helps set up
that red hallway.

508
00:28:35,047 --> 00:28:37,131
So anyway, what was I saying?

509
00:28:37,132 --> 00:28:38,304
Right, the windows.

510
00:28:38,305 --> 00:28:40,468
So you got... Jack has entered.

511
00:28:40,469 --> 00:28:42,392
And you can see...
you are...

512
00:28:42,393 --> 00:28:43,804
Kubrick shows you.

513
00:28:43,805 --> 00:28:46,900
But he shows you this lobby,
and you get to see...

514
00:28:46,901 --> 00:28:51,103
as Jack moves across the lobby,
you see the elevator beyond.

515
00:28:51,104 --> 00:28:53,150
And you see beyond that,
a hallway.

516
00:28:53,151 --> 00:28:56,364
You don't see yet how far back
it goes, you know,

517
00:28:56,365 --> 00:28:59,364
the other things back there,
but you have an impression

518
00:28:59,365 --> 00:29:02,829
that this place is towards
the middle of the hotel.

519
00:29:02,830 --> 00:29:04,997
You just have that
impression that it's towards

520
00:29:04,998 --> 00:29:06,661
the middle of the hotel.

521
00:29:06,662 --> 00:29:10,212
And you go from the lobby into
the general manager's office

522
00:29:10,213 --> 00:29:15,419
and then into Ullman's office,
and there's this window.

523
00:29:15,420 --> 00:29:17,341
And the window's
a powerful window.

524
00:29:17,342 --> 00:29:19,717
I mean, the light coming
through there is glaring.

525
00:29:19,718 --> 00:29:22,093
It's like a character in itself.

526
00:29:22,094 --> 00:29:24,220
It takes over.

527
00:29:24,221 --> 00:29:27,687
And you've got these tendril-y,
sinister kind of trees

528
00:29:27,688 --> 00:29:29,060
that are outside the window.

529
00:29:29,061 --> 00:29:30,685
And you've got...

530
00:29:30,686 --> 00:29:32,357
it's just such
a forceful presence,

531
00:29:32,358 --> 00:29:34,072
this light
that comes over everything.

532
00:29:34,073 --> 00:29:36,065
And, you know...

533
00:29:36,066 --> 00:29:39,026
And there's
something wrong with it.

534
00:29:39,027 --> 00:29:40,199
There's something wrong with it,

535
00:29:40,200 --> 00:29:42,822
and I think it registers
as something wrong.

536
00:29:42,823 --> 00:29:44,496
This is an impossible window.

537
00:29:44,497 --> 00:29:46,784
It's not... it is impossible.

538
00:29:46,785 --> 00:29:48,205
It is physically impossible.

539
00:29:48,206 --> 00:29:49,203
It cannot be there.

540
00:29:49,204 --> 00:29:50,705
It should not be there.

541
00:29:50,706 --> 00:29:54,709
There's no place in the hotel
for this window to exist.

542
00:29:54,710 --> 00:29:55,710
It's only toward...

543
00:29:55,711 --> 00:29:57,179
finally,
towards the end of the film,

544
00:29:57,180 --> 00:30:00,548
that you have the realization
that there are several hallways

545
00:30:00,549 --> 00:30:04,218
in succession behind the office.

546
00:30:04,219 --> 00:30:06,971
You see it when Wendy,

547
00:30:06,972 --> 00:30:10,146
when she's later down there and
she sees Dick Hallorann's body

548
00:30:10,147 --> 00:30:11,934
after he's been killed.

549
00:30:11,935 --> 00:30:16,190
You have her behind... in that
hallway behind the office.

550
00:30:19,651 --> 00:30:22,323
So really, now, what
can I tell you about the maps?

551
00:30:22,324 --> 00:30:24,322
No, I did not sit down
with graph paper.

552
00:30:24,323 --> 00:30:27,076
I did not even begin to attempt
to do them to scale.

553
00:30:27,077 --> 00:30:28,284
Let me see.

554
00:30:28,285 --> 00:30:30,128
I can't say which room
I started off with.

555
00:30:30,129 --> 00:30:31,871
I don't remember.

556
00:30:31,872 --> 00:30:34,250
I just went through
and decided I was going to do...

557
00:30:34,251 --> 00:30:37,253
try to do as much as I could,
feeling that...

558
00:30:37,254 --> 00:30:39,048
I felt, eventually,
that there were places

559
00:30:39,049 --> 00:30:43,094
that I could plot out, such
as where the girls were killed.

560
00:30:43,095 --> 00:30:44,967
I was not absolutely sure
at that point,

561
00:30:44,968 --> 00:30:46,432
when I started out
doing the maps,

562
00:30:46,433 --> 00:30:47,680
where the girls were killed.

563
00:30:47,681 --> 00:30:50,148
But I felt that it was
somewhere back around

564
00:30:50,149 --> 00:30:53,726
the area where they lived.

565
00:30:53,727 --> 00:30:55,269
Suite number, what?

566
00:30:55,270 --> 00:30:57,068
They lived at
suite number 3.

567
00:31:00,692 --> 00:31:04,570
- When Jack is sitting,
typing at his typewriter,

568
00:31:04,571 --> 00:31:07,120
and Wendy comes in
and interrupts him

569
00:31:07,121 --> 00:31:08,616
while he's working...

570
00:31:08,617 --> 00:31:10,206
and in one shot of Jack...

571
00:31:10,207 --> 00:31:11,541
- You get a lot written today?

572
00:31:11,542 --> 00:31:14,288
- Sitting at the typewriter,
a one shot,

573
00:31:14,289 --> 00:31:15,414
you look back behind him.

574
00:31:15,415 --> 00:31:17,133
And of course,
you can see very clearly

575
00:31:17,134 --> 00:31:20,669
'cause Kubrick was the master
of depth of field.

576
00:31:20,670 --> 00:31:23,923
He kept everything in focus
so he would have lots of space

577
00:31:23,924 --> 00:31:27,144
in which to puts things
that he wanted you to notice.

578
00:31:27,145 --> 00:31:31,389
And in the first shot, behind
Jack sitting at his typewriter,

579
00:31:31,390 --> 00:31:35,440
back against a wall, behind him
probably 10 or 12 or 15 feet

580
00:31:35,441 --> 00:31:36,482
is a chair.

581
00:31:38,814 --> 00:31:40,862
And then there's a switch
to a one-shot of Wendy

582
00:31:40,863 --> 00:31:42,066
saying something.

583
00:31:42,067 --> 00:31:45,697
- Hey, the weather forecast
said it's gonna snow tonight.

584
00:31:45,698 --> 00:31:48,948
- And then the camera
switches back to Jack,

585
00:31:48,949 --> 00:31:51,158
and the chair is gone.

586
00:31:51,159 --> 00:31:52,832
- What do you want me
to do about it?

587
00:31:55,330 --> 00:31:58,504
- And my students and I
always have fun with that,

588
00:31:58,505 --> 00:32:01,335
saying,
"Well, continuity error?"

589
00:32:01,336 --> 00:32:02,837
Could be.

590
00:32:02,838 --> 00:32:06,632
Or it's not,
and the answer, if it's not...

591
00:32:06,633 --> 00:32:08,509
or if it was originally

592
00:32:08,510 --> 00:32:10,979
and then Kubrick saw it
and decided to keep it,

593
00:32:10,980 --> 00:32:15,224
is that he's
parodying honor films

594
00:32:15,225 --> 00:32:21,272
in order to remind you that
this isn't just a horror film.

595
00:32:21,273 --> 00:32:23,571
And there's another one
in <i>The Shining that's, I think,</i>

596
00:32:23,572 --> 00:32:25,192
less well-noticed.

597
00:32:25,193 --> 00:32:30,197
And I think it's even more
clearly substantive.

598
00:32:30,198 --> 00:32:35,744
When Danny has his first vision
of the elevator gushing blood

599
00:32:35,745 --> 00:32:39,039
and the camera
is tracking toward him,

600
00:32:39,040 --> 00:32:42,126
past the open door
of his bedroom

601
00:32:42,127 --> 00:32:44,674
and toward the hall
and the bathroom,

602
00:32:44,675 --> 00:32:46,969
the open bathroom door
across the hall...

603
00:32:46,970 --> 00:32:51,385
and his bedroom door, as you
would expect a kid's door,

604
00:32:51,386 --> 00:32:54,305
has lots
of cartoon characters on it

605
00:32:54,306 --> 00:32:57,475
And, the one
who is most apparent,

606
00:32:57,476 --> 00:32:59,315
because it's right
at the edge of the door

607
00:32:59,316 --> 00:33:01,530
and it's the largest one
that you can see

608
00:33:01,531 --> 00:33:05,900
and it's the last one you can
see as the camera moves past it,

609
00:33:05,901 --> 00:33:08,068
is one of the Seven Dwarves.

610
00:33:08,069 --> 00:33:11,414
And it happens to be Dopey,
okay?

611
00:33:13,074 --> 00:33:16,410
Subsequently,
after Danny has passed out,

612
00:33:16,411 --> 00:33:19,415
Wendy and the pediatrician
leave Danny's room.

613
00:33:19,416 --> 00:33:21,754
And as they do, they,
of course, go out his door.

614
00:33:21,755 --> 00:33:23,339
And you again see the door,

615
00:33:23,340 --> 00:33:26,259
the open door with all
the cartoon characters on it,

616
00:33:26,260 --> 00:33:29,006
and Dopey isn't there.

617
00:33:29,007 --> 00:33:31,926
Now, again continuity error?

618
00:33:31,927 --> 00:33:33,427
I don't think so.

619
00:33:33,428 --> 00:33:36,147
I think what Kubrick
is saying is that before,

620
00:33:36,148 --> 00:33:41,101
Danny had no idea about
the world, and now he knows.

621
00:33:41,102 --> 00:33:43,067
He is no longer a dope
about things.

622
00:33:43,068 --> 00:33:44,565
He has been enlightened.

623
00:33:48,026 --> 00:33:50,778
- Anything you say, Lloyd.

624
00:33:50,779 --> 00:33:52,247
Anything you say.

625
00:34:06,127 --> 00:34:08,295
- The the advocaat is spilled.

626
00:34:08,296 --> 00:34:09,296
There's the accident.

627
00:34:09,297 --> 00:34:10,467
Kubrick is setting it up

628
00:34:10,468 --> 00:34:12,761
as where they come around
in a circle,

629
00:34:12,762 --> 00:34:14,974
'cause I feel like
that's what the camera does.

630
00:34:14,975 --> 00:34:17,814
I feel like the camera
brings us around in a circle

631
00:34:17,815 --> 00:34:19,723
so that we're coming back.

632
00:34:19,724 --> 00:34:24,853
The bathroom seems to be
overlaying the Gold Room and...

633
00:34:24,854 --> 00:34:27,231
so that
the advocaat situation

634
00:34:27,232 --> 00:34:28,859
in the bathroom
is occurring about

635
00:34:28,860 --> 00:34:31,202
in the same area
that it did in the Gold Room.

636
00:34:37,284 --> 00:34:38,536
- They use the camera

637
00:34:38,537 --> 00:34:42,621
to create an emotional
architecture in your mind

638
00:34:42,622 --> 00:34:45,296
but at the same time,
showing you that it's false.

639
00:34:45,297 --> 00:34:48,919
The set is complete...
so completely plastic

640
00:34:48,920 --> 00:34:51,844
that its contradictions pile up
in your subconscious.

641
00:34:55,302 --> 00:34:58,470
Hallorann is showing...

642
00:34:58,471 --> 00:35:02,141
showing Wendy, you know,
the place where she will,

643
00:35:02,142 --> 00:35:08,314
you know, basically,
entrap Jack...

644
00:35:08,315 --> 00:35:10,691
entrap him both physically,

645
00:35:10,692 --> 00:35:16,822
but also, like, that will be
the last straw for him,

646
00:35:16,823 --> 00:35:20,868
last straw for
the management of the hotel.

647
00:35:20,869 --> 00:35:22,870
It's in the store room
that he finally is like,

648
00:35:22,871 --> 00:35:27,207
"Okay.
Now I'm gonna do it."

649
00:35:27,208 --> 00:35:29,631
And, you know,
the opening of that door

650
00:35:29,632 --> 00:35:35,215
is the famous, like,
only thing that's supernatural

651
00:35:35,216 --> 00:35:38,220
happens in the movie that can't
be explained any other way.

652
00:35:39,220 --> 00:35:40,220
Yeah.

653
00:35:41,931 --> 00:35:45,147
But except that it can be
explained another way,

654
00:35:45,148 --> 00:35:46,895
in that Danny lets him out.

655
00:35:54,569 --> 00:35:56,033
I do have this idea that Danny

656
00:35:56,034 --> 00:35:58,452
is a lot more consciously
murdering his father

657
00:35:58,453 --> 00:36:00,416
than the narrative lets on.

658
00:36:10,085 --> 00:36:11,085
I don't know.
It's weird.

659
00:36:11,086 --> 00:36:13,259
Like, you notice how, like,
Wendy's walking backwards

660
00:36:13,260 --> 00:36:17,591
when she's having
that confrontation with Jack

661
00:36:17,592 --> 00:36:20,761
in the lounge, you know.

662
00:36:20,762 --> 00:36:27,768
And she's being drawn up
to the hexagonal hallway room.

663
00:36:27,769 --> 00:36:31,563
And you see Danny shining
at the beginning of that.

664
00:36:31,564 --> 00:36:34,108
He's in his room,
and there's, like,

665
00:36:34,109 --> 00:36:36,658
lights flickering in his eyes.

666
00:36:38,071 --> 00:36:40,119
Like, is Danny drawing...
you know,

667
00:36:40,120 --> 00:36:44,618
drawing his mother up the stairs
so that she can, you know,

668
00:36:44,619 --> 00:36:49,216
sacrifice Jack on top of that,
you know, weird pyramid?

669
00:36:58,675 --> 00:37:00,222
- When I had a chance...
when I was doing a story

670
00:37:00,223 --> 00:37:02,016
out in Denver,
we went up to Estes Park.

671
00:37:02,017 --> 00:37:03,804
It was in the off-season.

672
00:37:03,805 --> 00:37:06,684
Went into the Stanley Hotel,
and I asked to see the manager.

673
00:37:06,685 --> 00:37:09,023
And he came out, and we were
just having lunch with him.

674
00:37:09,024 --> 00:37:11,520
And I said, "Can we talk to you?
I write about <i>The Shining."</i>

675
00:37:11,521 --> 00:37:12,738
He said, "Really?"

676
00:37:12,739 --> 00:37:14,481
This fellow told me

677
00:37:14,482 --> 00:37:19,278
that he got a phone call
from Stanley Kubrick, who said,

678
00:37:19,279 --> 00:37:21,623
"I think I want to make
a movie about The Shining."

679
00:37:21,624 --> 00:37:25,075
And then he would keep
this fellow on the phone

680
00:37:25,076 --> 00:37:26,785
for a long time.

681
00:37:26,786 --> 00:37:29,207
He said, "We had many
long, long conversations

682
00:37:29,208 --> 00:37:31,752
in which he picked my brain
about everything."

683
00:37:31,753 --> 00:37:32,958
And at that point, he said,

684
00:37:32,959 --> 00:37:34,757
"Kubrick was talking about
maybe coming here

685
00:37:34,758 --> 00:37:38,344
to make the movie here,"
which I expect, at that point,

686
00:37:38,345 --> 00:37:40,090
that fellow liked the idea of,

687
00:37:40,091 --> 00:37:41,592
so it would
make his hotel famous.

688
00:37:41,593 --> 00:37:44,267
And Kubrick said, "I'd like
to send out a research team."

689
00:37:44,268 --> 00:37:46,263
And so he then sent out...

690
00:37:46,264 --> 00:37:48,358
the man said it was something
like two or three people

691
00:37:48,359 --> 00:37:49,850
who came out here
and stayed here

692
00:37:49,851 --> 00:37:54,271
for two or three months,
taking photographs everywhere.

693
00:37:54,272 --> 00:37:56,195
And they spent a lot of time
also down in Denver

694
00:37:56,196 --> 00:37:58,068
in the Colorado state archives,

695
00:37:58,069 --> 00:38:00,611
finding out,
as I would now expect,

696
00:38:00,612 --> 00:38:04,406
the full history of Colorado,

697
00:38:04,407 --> 00:38:06,000
which... the flag of which
plays a part.

698
00:38:06,001 --> 00:38:09,995
And the gold rush,
the Colorado Gold Rush

699
00:38:09,996 --> 00:38:11,413
was also a very big event.

700
00:38:11,414 --> 00:38:12,836
And there's all...
there's still a lot

701
00:38:12,837 --> 00:38:15,756
of American Indian/white people
tension in Colorado

702
00:38:15,757 --> 00:38:19,046
with Navajos and Arapahos
just to the south.

703
00:38:19,047 --> 00:38:21,137
This research team found out
absolutely everything

704
00:38:21,138 --> 00:38:23,385
about Colorado,
about Estes Park,

705
00:38:23,386 --> 00:38:25,886
about the Stanley Hotel,
about its entire history,

706
00:38:25,887 --> 00:38:28,472
took photographs
all over the place.

707
00:38:28,473 --> 00:38:30,394
Three months was
the impression that I have

708
00:38:30,395 --> 00:38:32,985
of what he said about
how this research team

709
00:38:32,986 --> 00:38:35,562
gathered absolutely everything.

710
00:38:35,563 --> 00:38:38,908
Kubrick unearthed an enormous
amount about the real history

711
00:38:38,909 --> 00:38:41,443
of Colorado,
where this takes place,

712
00:38:41,444 --> 00:38:45,823
because what he has done
is found a way to dig

713
00:38:45,824 --> 00:38:48,577
into all of the patterns
of our civilization,

714
00:38:48,578 --> 00:38:50,911
our times
and our cultures,

715
00:38:50,912 --> 00:38:53,415
and the things that
we don't want to look at.

716
00:38:53,416 --> 00:38:56,750
And this movie is very much
also about denial

717
00:38:56,751 --> 00:38:58,547
of the genocides
that we committed...

718
00:38:58,548 --> 00:39:00,297
we white folk from Europe...

719
00:39:00,298 --> 00:39:03,131
committed here and not that...

720
00:39:03,132 --> 00:39:05,351
not that white folks are the
only people who do genocide.

721
00:39:05,352 --> 00:39:08,265
All humans do, as Kubrick
makes clear in this movie.

722
00:39:08,266 --> 00:39:11,229
He would research everything
and the full history and nature

723
00:39:11,230 --> 00:39:14,444
of everything you're gonna see
in the movie on the screen

724
00:39:14,445 --> 00:39:19,273
and then
boil it down and boil it down

725
00:39:19,274 --> 00:39:21,368
until he got the universal
human and global patterns

726
00:39:21,369 --> 00:39:24,361
that make it so real.

727
00:39:24,362 --> 00:39:27,698
- White man's burden,
Lloyd, my man.

728
00:39:27,699 --> 00:39:29,451
White man's burden.

729
00:39:35,540 --> 00:39:37,833
I like you, Lloyd.

730
00:39:37,834 --> 00:39:39,710
I always liked you.

731
00:39:39,711 --> 00:39:42,296
You were always the best of 'em.

732
00:39:42,297 --> 00:39:44,756
The best goddamned bartender

733
00:39:44,757 --> 00:39:48,135
from Timbuktu
to Portland, Maine,

734
00:39:48,136 --> 00:39:50,639
or Portland, Oregon,
for that matter.

735
00:39:50,640 --> 00:39:52,352
- Thank you for saying so.

736
00:39:52,353 --> 00:39:53,599
- What does it mean?

737
00:39:53,600 --> 00:39:55,022
Jack saying, "You always
were the best of 'em."

738
00:39:55,023 --> 00:39:56,270
Starting in Timbuktu?

739
00:39:56,271 --> 00:39:58,270
Jack the schoolteacher
was never in Timbuktu,

740
00:39:58,271 --> 00:40:00,731
but Jack
the universal weak male

741
00:40:00,732 --> 00:40:02,985
hired by armies
to go commit atrocities

742
00:40:02,986 --> 00:40:04,611
has always been there.

743
00:40:05,987 --> 00:40:07,079
Now, of course,
the word "Portland"

744
00:40:07,080 --> 00:40:08,914
is neat because
it means where we landed

745
00:40:08,915 --> 00:40:12,200
or where the British
or the Europeans landed.

746
00:40:12,201 --> 00:40:14,791
And Portland, Maine... Oregon is
where they may have taken off

747
00:40:14,792 --> 00:40:16,084
from to go further west.

748
00:40:18,499 --> 00:40:20,250
Kubrick is thinking about
the implications

749
00:40:20,251 --> 00:40:22,253
of everything that exists.

750
00:40:24,005 --> 00:40:26,006
You know, the power of the genie
is in its confinement,

751
00:40:26,007 --> 00:40:28,886
as the great American poet
Richard Wilbur said.

752
00:40:28,887 --> 00:40:31,929
Boiling it down, you know,
10,000 years in a little lamp,

753
00:40:31,930 --> 00:40:33,225
you got to get
your act together.

754
00:40:33,226 --> 00:40:34,394
But that's the essence
of great art.

755
00:40:34,395 --> 00:40:35,766
It's like a dream.

756
00:40:35,767 --> 00:40:38,188
It's boiled everything down
to an emblematic symbol

757
00:40:38,189 --> 00:40:40,029
that's got all of life in it.

758
00:40:42,357 --> 00:40:44,530
Now, if you'll allow me to make
a little bit of a link here.

759
00:40:44,531 --> 00:40:46,446
As I've thinking of this more
in recent years,

760
00:40:46,447 --> 00:40:50,369
what we now understand to be
the nature of what dreams are,

761
00:40:50,370 --> 00:40:55,035
I mean, it seems to be,
the general theory is,

762
00:40:55,036 --> 00:40:57,414
that it's a way
for the brain to boil down

763
00:40:57,415 --> 00:40:59,039
all of the
previous experiences

764
00:40:59,040 --> 00:41:01,461
and then add in
that day's experiences

765
00:41:01,462 --> 00:41:04,429
as well to see what kind
of overall universal patterns

766
00:41:04,430 --> 00:41:06,546
there are to be found,

767
00:41:06,547 --> 00:41:09,344
so that you can be aware of what
the patterns are out there,

768
00:41:09,345 --> 00:41:11,720
so that your subconscious
will be all the more ready

769
00:41:11,721 --> 00:41:14,221
to react suddenly when you see
something dangerous happen

770
00:41:14,222 --> 00:41:16,850
or something important
happen that may lead you

771
00:41:16,851 --> 00:41:20,978
to a mate or to some food
or away from danger.

772
00:41:20,979 --> 00:41:27,567
And therefore, the way Kubrick
made movies was not unlike

773
00:41:27,568 --> 00:41:30,447
the way, according
to these current theories,

774
00:41:30,448 --> 00:41:35,158
our brains create memories
and, for that matter, dreams.

775
00:41:35,159 --> 00:41:39,329
That's the ultimate shining
that Kubrick does.

776
00:41:39,330 --> 00:41:41,331
He is like a mega brain
for the planet

777
00:41:41,332 --> 00:41:44,677
who is boiling down with
all of this extensive research,

778
00:41:44,678 --> 00:41:47,587
all of these
patterns of our world

779
00:41:47,588 --> 00:41:50,010
and then giving them back to us
in a dream of a movie...

780
00:41:50,011 --> 00:41:51,760
because movies
are like a dream...

781
00:41:51,761 --> 00:41:54,052
and that's related
to why I think

782
00:41:54,053 --> 00:41:55,771
there's a lot of evidence
that what Kubrick

783
00:41:55,772 --> 00:42:01,018
<i>also</i> gave <i>us in The Shining
is</i> a <i>movie about the past.</i>

784
00:42:01,019 --> 00:42:02,436
Not just any past.

785
00:42:02,437 --> 00:42:04,146
The past.

786
00:42:04,147 --> 00:42:06,440
I mean past-ness.

787
00:42:06,441 --> 00:42:11,278
It's a movie
about how the past impinges.

788
00:42:11,279 --> 00:42:13,280
That's what ghosts are.

789
00:42:13,281 --> 00:42:16,125
That's what those skitter-y
voices in the opening shot

790
00:42:16,126 --> 00:42:18,618
that are following are about.

791
00:42:18,619 --> 00:42:20,836
There's two phrases from T.S.
Eliot that I often think of

792
00:42:20,837 --> 00:42:21,955
when I'm thinking about
The Shining.

793
00:42:21,956 --> 00:42:23,540
One of them is "The night"...

794
00:42:23,541 --> 00:42:24,793
I think they're both
from T.S. Eliot...

795
00:42:24,794 --> 00:42:26,043
"The nightmare of history...

796
00:42:26,044 --> 00:42:28,797
how can we awake from
the nightmare of history?"

797
00:42:30,882 --> 00:42:34,136
- And the other is his phrase...
T.S. Eliot's phrase...

798
00:42:34,137 --> 00:42:37,014
"History has
many cunning passages."

799
00:42:38,473 --> 00:42:42,559
And I think both of those
phrases are directly apt

800
00:42:42,560 --> 00:42:44,399
<i>for The Shining,
in which we see</i>

801
00:42:44,400 --> 00:42:47,486
many cunning passages in the
maze and in the hotel itself

802
00:42:47,487 --> 00:42:50,235
and in which the past
becomes a nightmare,

803
00:42:50,236 --> 00:42:53,075
and in which Kubrick
shows us how you escape

804
00:42:53,076 --> 00:42:56,615
from the nightmare of the past
by retracing your steps,

805
00:42:56,616 --> 00:42:57,831
as Danny does
in that last line,

806
00:42:57,832 --> 00:42:59,326
which means
acknowledging what happened

807
00:42:59,327 --> 00:43:03,038
and learning about the past
and then getting out,

808
00:43:03,039 --> 00:43:05,754
only if you are
going to be able to shine

809
00:43:05,755 --> 00:43:06,958
and see what the patterns are

810
00:43:06,959 --> 00:43:08,176
so you know
to get away from them

811
00:43:08,177 --> 00:43:10,968
and avoid them
and go for the good things.

812
00:43:10,969 --> 00:43:15,592
<i>I mean, The Shining is his movie
about how families break down,</i>

813
00:43:15,593 --> 00:43:17,015
whether they are
an individual family

814
00:43:17,016 --> 00:43:20,222
or the larger societal family

815
00:43:20,223 --> 00:43:22,432
that tries to break up
individual families.

816
00:43:22,433 --> 00:43:24,434
And his hat movie,
<i>Eyes Wide Shut is the opposite.</i>

817
00:43:24,435 --> 00:43:28,355
It's about
a family sorely tried,

818
00:43:28,356 --> 00:43:30,527
Bill Hartford
and his wife and child,

819
00:43:30,528 --> 00:43:32,526
that survives
all the horrible temptations

820
00:43:32,527 --> 00:43:34,154
that are in our DNA.

821
00:43:43,538 --> 00:43:45,956
- This is our famous hedge maze.

822
00:43:45,957 --> 00:43:47,499
It's a lot of fun.

823
00:43:47,500 --> 00:43:48,797
But I wouldn't
want to go in there

824
00:43:48,798 --> 00:43:51,012
unless I had an hour to spare
to find my way out.

825
00:43:52,338 --> 00:43:54,759
- I did not look at it again
for a number of years

826
00:43:54,760 --> 00:43:56,555
until it came out in rental.

827
00:43:56,556 --> 00:43:59,511
And then I picked it up
a couple of times.

828
00:43:59,512 --> 00:44:02,472
And, what, you had three days
in order to watch a rental?

829
00:44:02,473 --> 00:44:03,690
And so, I can remember watching

830
00:44:03,691 --> 00:44:05,898
it over and over again
during those three days

831
00:44:05,899 --> 00:44:07,769
and really taking
a good look at it then.

832
00:44:07,770 --> 00:44:11,068
And I was able to think "Oh,
yes, this is what I remember.

833
00:44:11,069 --> 00:44:12,404
This is what I thought I saw,"

834
00:44:12,405 --> 00:44:13,652
and then catching more things.

835
00:44:13,653 --> 00:44:15,904
But it wasn't, of course,
until DVD came out

836
00:44:15,905 --> 00:44:17,742
that I was really able
to sit down

837
00:44:17,743 --> 00:44:21,584
and take a good look at it as
far as just running through it

838
00:44:21,585 --> 00:44:25,537
over and over and over again.

839
00:44:25,538 --> 00:44:29,875
Kubrick presents these things
where it's, you know, real...

840
00:44:29,876 --> 00:44:31,418
you know, it's realistic.

841
00:44:31,419 --> 00:44:33,467
You're not supposed to see
what's actually going on.

842
00:44:33,468 --> 00:44:34,588
You've got Danny.

843
00:44:34,589 --> 00:44:36,216
He's in the game room.
He turns around.

844
00:44:36,217 --> 00:44:39,469
We're supposed to be focused
on the two girls there.

845
00:44:39,470 --> 00:44:41,514
And than you... I saw...
over on the left,

846
00:44:41,515 --> 00:44:42,807
I see this skiing poster.

847
00:44:42,808 --> 00:44:45,226
And the thing is that
you already have Jack.

848
00:44:45,227 --> 00:44:47,100
He's already asked about skiing.

849
00:44:47,101 --> 00:44:48,819
But why isn't... you know,
"What about skiing?

850
00:44:48,820 --> 00:44:50,857
Isn't the skiing good here
in the hotel?"

851
00:44:50,858 --> 00:44:53,695
And he's already given the story
of why it isn't good,

852
00:44:53,696 --> 00:44:55,025
why they can't do that.

853
00:44:55,026 --> 00:44:56,026
But you got the skiing poster.

854
00:44:56,027 --> 00:44:57,199
And my eye is drawn to it.

855
00:44:57,200 --> 00:44:59,946
And I realize
that's not a skier.

856
00:44:59,947 --> 00:45:01,415
That's a... that's a minotaur.

857
00:45:01,416 --> 00:45:03,200
It just leaped out at me.

858
00:45:03,201 --> 00:45:04,201
And so that was something

859
00:45:04,202 --> 00:45:06,417
that I was able
to look at later on VHS

860
00:45:06,418 --> 00:45:09,378
and say, "Yes, I had actually
seen a minotaur there,"

861
00:45:09,379 --> 00:45:12,125
where the upper body, you've got
this really, you know,

862
00:45:12,126 --> 00:45:14,753
overblown physique,
very physical physique.

863
00:45:14,754 --> 00:45:16,301
And then you've got
the suggestion...

864
00:45:16,302 --> 00:45:19,507
you have a suggestion
of a skiing pole there,

865
00:45:19,508 --> 00:45:21,223
but it's not really there.

866
00:45:21,224 --> 00:45:22,687
It's just
a suggestion of one.

867
00:45:22,688 --> 00:45:25,013
And the lower body
is positioned,

868
00:45:25,014 --> 00:45:26,391
the way the legs are,

869
00:45:26,392 --> 00:45:27,974
it's like a minotaur,
the build is.

870
00:45:27,975 --> 00:45:29,522
And you've actually got
the tail there.

871
00:45:29,523 --> 00:45:31,353
And so it is a minotaur.

872
00:45:31,354 --> 00:45:34,733
And this is in...
on the opposite side of the door

873
00:45:34,734 --> 00:45:38,318
you have a cowboy
on a bucking bronco, so...

874
00:45:38,319 --> 00:45:40,367
and so you got
a kind of echo there,

875
00:45:40,368 --> 00:45:41,738
where you got the

876
00:45:41,739 --> 00:45:43,829
minotaur on one side,
the bull man,

877
00:45:43,830 --> 00:45:46,418
and on the other side,
you got the cowboy,

878
00:45:46,419 --> 00:45:48,828
the man on the bucking bronco.

879
00:45:48,829 --> 00:45:51,957
And this is just following
the scene where they...

880
00:45:51,958 --> 00:45:54,834
Ullman has been
taking Jack and Wendy

881
00:45:54,835 --> 00:45:56,211
through the Colorado Lounge,

882
00:45:56,212 --> 00:45:58,055
showing off the Colorado Lounge.

883
00:45:58,056 --> 00:45:59,839
And they go
into the hall

884
00:45:59,840 --> 00:46:01,638
behind the Colorado Lounge.

885
00:46:01,639 --> 00:46:04,219
And what's there,
but on the wall,

886
00:46:04,220 --> 00:46:06,848
there is a painting
of an American Indian

887
00:46:06,849 --> 00:46:09,349
with a buffalo headdress on.

888
00:46:09,350 --> 00:46:12,022
And at that point,
Ullman is discussing with Wendy

889
00:46:12,023 --> 00:46:14,020
who has stayed there
at the hotel.

890
00:46:14,021 --> 00:46:17,241
Royalty, the best people,
stars have stayed there.

891
00:46:17,242 --> 00:46:19,317
- Royalty?

892
00:46:19,318 --> 00:46:21,070
- All the best people.

893
00:46:25,283 --> 00:46:27,706
- You have "monarch" on
the bottom, which, you know,

894
00:46:27,707 --> 00:46:29,619
keys in with royalty.

895
00:46:29,620 --> 00:46:32,372
And you also have this
whole idea of the stars.

896
00:46:32,373 --> 00:46:36,293
<i>And the minotaur's name is,
what, Asterius?</i>

897
00:46:36,294 --> 00:46:39,337
His name is Asterius,
which means "starry."

898
00:46:39,338 --> 00:46:41,052
So you know, you got
several things there

899
00:46:41,053 --> 00:46:42,924
to do with mythology
that fit in.

900
00:46:42,925 --> 00:46:44,175
It's very exciting to me.

901
00:46:44,176 --> 00:46:45,427
That was the... you know,
that's the kind of

902
00:46:45,428 --> 00:46:46,645
leap-up-end-down moment
where you go,

903
00:46:46,646 --> 00:46:49,848
"Oh, wow, look at what
Kubrick has there."

904
00:46:49,849 --> 00:46:52,646
Yeah, I mean the minotaur lives
at the heart of the labyrinth.

905
00:46:52,647 --> 00:46:53,810
He's a part of the labyrinth.

906
00:46:53,811 --> 00:46:54,981
The labyrinth,
at least in the myth...

907
00:46:54,982 --> 00:46:56,196
you know,
in this particular myth...

908
00:46:56,197 --> 00:46:58,565
was built for the minotaur.

909
00:46:58,566 --> 00:47:00,989
The hotel is... you know,
it is the labyrinth.

910
00:47:00,990 --> 00:47:03,403
And Jack is the minotaur.

911
00:47:03,404 --> 00:47:06,656
You have scenes with him
where he...

912
00:47:06,657 --> 00:47:08,616
such as in...
what is it?

913
00:47:08,617 --> 00:47:10,035
The Thursday scene.

914
00:47:10,036 --> 00:47:11,911
The snowfall has started.

915
00:47:11,912 --> 00:47:15,457
You have Wendy and Danny
outside playing.

916
00:47:15,458 --> 00:47:17,254
And Jack
is inside the Colorado Lounge,

917
00:47:17,255 --> 00:47:18,715
and he's looking out at them.

918
00:47:18,716 --> 00:47:22,052
His head is tilted down,
and his eyes are somewhat...

919
00:47:22,053 --> 00:47:23,425
his eyes are elevated.

920
00:47:23,426 --> 00:47:24,424
They're pointing up.

921
00:47:24,425 --> 00:47:26,176
And his eyebrows are drawn up.

922
00:47:26,177 --> 00:47:28,053
But he has this
expression on his face

923
00:47:28,054 --> 00:47:30,682
that he gets progressively
throughout the film

924
00:47:30,683 --> 00:47:32,145
that is very bull-like.

925
00:47:32,146 --> 00:47:34,434
It has a very
minotaur-like expression.

926
00:47:34,435 --> 00:47:36,233
It's the same kind
of expression that Kubrick

927
00:47:36,234 --> 00:47:37,442
pulls out in other films,

928
00:47:37,443 --> 00:47:39,439
such as it was on
Private Pyle's face

929
00:47:39,440 --> 00:47:42,108
in the berserker scene
in the bathroom

930
00:47:42,109 --> 00:47:43,818
in <i>Full Metal Jacket.</i>

931
00:47:43,819 --> 00:47:46,446
So it's, you know,
not specific to this film.

932
00:47:46,447 --> 00:47:49,917
There's more minotaur imagery
and labyrinth imagery.

933
00:47:49,918 --> 00:47:52,410
There's the Gold Room.

934
00:47:52,411 --> 00:47:53,411
In front of the Gold Room,

935
00:47:53,412 --> 00:47:56,289
you have
the "Unwinding Hours" sign.

936
00:47:56,290 --> 00:47:58,133
And that plays in
with the labyrinth,

937
00:47:58,134 --> 00:47:59,793
where you have...

938
00:47:59,794 --> 00:48:01,508
Theseus
enters into the labyrinth,

939
00:48:01,509 --> 00:48:02,756
and he has
the thread with him

940
00:48:02,757 --> 00:48:04,970
that he ties
at the beginning that,

941
00:48:04,971 --> 00:48:07,305
you know, assists him
in going through the labyrinth,

942
00:48:07,306 --> 00:48:09,015
where he can
find his way back out.

943
00:48:09,016 --> 00:48:11,685
And so I see
the "Unwinding Hours" sign

944
00:48:11,686 --> 00:48:14,474
as having to do
with that thread.

945
00:48:14,475 --> 00:48:17,147
For a while there,
I was into baseball.

946
00:48:17,148 --> 00:48:19,771
And I get very excited with
baseball when I'm into baseball.

947
00:48:19,772 --> 00:48:20,897
You know, I can be by myself,

948
00:48:20,898 --> 00:48:22,649
and I will be
leaping up and down.

949
00:48:22,650 --> 00:48:24,489
And Kubrick
is like that for me,

950
00:48:24,490 --> 00:48:28,158
where all I have to do is see
the minotaur poster there,

951
00:48:28,159 --> 00:48:31,034
and I go, "Oh, my goodness.
Look at this!"

952
00:48:31,035 --> 00:48:34,458
Because you're not
supposed to see the minotaur.

953
00:48:38,541 --> 00:48:40,669
- Danny is shown
riding his big wheel

954
00:48:40,670 --> 00:48:43,545
through the hotel three times.

955
00:48:43,546 --> 00:48:48,341
The first ride, I think,
is about realism.

956
00:48:48,342 --> 00:48:50,051
That's Danny is a...

957
00:48:50,052 --> 00:48:56,057
Danny is doing a loop
around the lounge set.

958
00:48:56,058 --> 00:48:58,393
You know, he goes through
the service hallway

959
00:48:58,394 --> 00:48:59,816
and then he goes
through the lounge

960
00:48:59,817 --> 00:49:02,531
and then he goes back
into the service hallway.

961
00:49:02,532 --> 00:49:05,650
And, you know,
when you first see the movie,

962
00:49:05,651 --> 00:49:07,745
you're like,
"He's just wandering around.

963
00:49:07,746 --> 00:49:09,487
It's crazy, it's just"...

964
00:49:09,488 --> 00:49:10,705
But it... no, it's very...

965
00:49:10,706 --> 00:49:13,032
it's just a very simple loop.

966
00:49:13,033 --> 00:49:14,826
He does it once.

967
00:49:14,827 --> 00:49:18,580
But that gives you
an idea of where...

968
00:49:18,581 --> 00:49:20,748
of what that place is.

969
00:49:20,749 --> 00:49:22,296
I mean, you know,
all right, you understand

970
00:49:22,297 --> 00:49:24,794
that that set is real.

971
00:49:24,795 --> 00:49:26,966
You know, like,
it's a continuous shot.

972
00:49:26,967 --> 00:49:28,261
There are no tricks.

973
00:49:28,262 --> 00:49:32,927
In the second ride,
in the hexagonal hallway,

974
00:49:32,928 --> 00:49:33,928
there are a lot of...

975
00:49:33,929 --> 00:49:35,397
there are more tricks.

976
00:49:35,398 --> 00:49:37,348
Like, he doesn't do a loop.

977
00:49:37,349 --> 00:49:42,061
He does kind of like
a key-shaped...

978
00:49:42,062 --> 00:49:48,067
you know, or a p-shaped loop
around this hallway.

979
00:49:48,068 --> 00:49:54,371
And you see the realism of the
connection to the lounge set.

980
00:50:05,669 --> 00:50:09,970
And... but you also see the fakery
of the fake elevators.

981
00:50:11,717 --> 00:50:13,218
And you see...
for just one second,

982
00:50:13,219 --> 00:50:16,940
you see the big stained glass
windows out of the corner,

983
00:50:16,941 --> 00:50:19,933
in the corner of the frame

984
00:50:19,934 --> 00:50:24,187
right before he takes a turn
around the elevator.

985
00:50:24,188 --> 00:50:26,282
Like, that's incredible because,

986
00:50:26,283 --> 00:50:30,443
like, that connects
that whole hallway

987
00:50:30,444 --> 00:50:34,614
to the giant
Colorado Lounge set.

988
00:50:34,615 --> 00:50:35,958
I mean,
that's just for one second.

989
00:50:35,959 --> 00:50:37,873
They didn't have to do that,
you know?

990
00:50:41,872 --> 00:50:43,836
But it's also... you know,
it's a metaphor

991
00:50:43,837 --> 00:50:45,628
because he's also elevated.

992
00:50:45,629 --> 00:50:48,470
He's one level up
from where he was before.

993
00:50:48,471 --> 00:50:53,550
Like, he starts in the same
place, just one floor up,

994
00:50:53,551 --> 00:50:56,266
you know, in the northeast
corner of the set.

995
00:50:56,267 --> 00:50:59,812
So now he's in the northeast
corner and one level up.

996
00:50:59,813 --> 00:51:02,809
And if you take it
as a metaphor of, like,

997
00:51:02,810 --> 00:51:08,731
going from a mundane reality
to up into your head

998
00:51:08,732 --> 00:51:11,192
to more
of a fantastical reality...

999
00:51:11,193 --> 00:51:14,904
The third one is even stranger,

1000
00:51:14,905 --> 00:51:17,033
'cause he starts off
in the service unit.

1001
00:51:17,034 --> 00:51:18,283
He starts off in the same,

1002
00:51:18,284 --> 00:51:21,452
you know, northeast corner
of the lobby hall,

1003
00:51:21,453 --> 00:51:24,122
of the lobby service hallway.

1004
00:51:24,123 --> 00:51:28,835
And then he takes a turn,
and suddenly he's upstairs

1005
00:51:28,836 --> 00:51:34,468
in the area
outside their apartment

1006
00:51:36,051 --> 00:51:38,641
So, like,
it's a kind of a combination

1007
00:51:38,642 --> 00:51:41,139
of the first two,
where like he's down low

1008
00:51:41,140 --> 00:51:43,808
and then he's up high.

1009
00:51:43,809 --> 00:51:45,310
And then he takes a turn,
and he's suddenly...

1010
00:51:45,311 --> 00:51:49,897
he's in that that yellow,
yellow and blue wallpaper.

1011
00:51:49,898 --> 00:51:53,067
Let's say that's
in the service hallway area.

1012
00:51:53,068 --> 00:51:55,537
He's, you know, right outside
his parents' bedroom,

1013
00:51:55,538 --> 00:51:59,532
so there's this
connection between him

1014
00:51:59,533 --> 00:52:03,036
going on these big wheel rides
and dreaming.

1015
00:52:03,037 --> 00:52:05,288
Like, he's near his bedroom.

1016
00:52:05,289 --> 00:52:09,044
He's near... like, you see his
parents are working downstairs,

1017
00:52:09,045 --> 00:52:11,628
but he's upstairs.

1018
00:52:11,629 --> 00:52:15,715
You know, like, you see his mom
on the telephone,

1019
00:52:15,716 --> 00:52:18,676
and then he's flying.

1020
00:52:18,677 --> 00:52:22,472
He goes above her
to the bedroom,

1021
00:52:22,473 --> 00:52:24,271
which is above
where she's working,

1022
00:52:24,272 --> 00:52:27,685
just as
the hexagonal hallway

1023
00:52:27,686 --> 00:52:30,772
is above
where his dad is working.

1024
00:52:30,773 --> 00:52:34,243
So these big wheel rides
become like a visionary way

1025
00:52:34,244 --> 00:52:38,321
of Danny to explore
his parents' headspace.

1026
00:52:41,408 --> 00:52:44,869
You know, like,
room 237 is his, like...

1027
00:52:44,870 --> 00:52:47,914
that's his father's
fantasy chamber

1028
00:52:47,915 --> 00:52:51,042
where, like, he gets it on
with the witches.

1029
00:52:55,506 --> 00:53:01,844
And the twins are like
his mother's fantasy...

1030
00:53:01,845 --> 00:53:07,475
fantasy headspace where, like,
they're these double blue women

1031
00:53:07,476 --> 00:53:10,525
who want to play with Danny
forever and ever.

1032
00:53:10,526 --> 00:53:13,481
- We're all gonna have
a real good time.

1033
00:53:21,407 --> 00:53:23,080
- My interpretation
of The Shining

1034
00:53:23,081 --> 00:53:26,994
is that there's many levels
to this film.

1035
00:53:26,995 --> 00:53:29,122
This is like
three-dimensional chess.

1036
00:53:29,123 --> 00:53:35,002
And he's trying
to tell us several stories

1037
00:53:35,003 --> 00:53:39,799
that appear to be separate
but actually are not.

1038
00:53:39,800 --> 00:53:45,221
And he's doing this both through
the overt script that he wrote.

1039
00:53:45,222 --> 00:53:48,975
He's telling it through tricks
of the trade,

1040
00:53:48,976 --> 00:53:52,276
the subliminal imagery
and these constant retakes,

1041
00:53:52,277 --> 00:53:55,356
giving him odd angles
and things.

1042
00:53:55,357 --> 00:53:58,484
And he's also telling you

1043
00:53:58,485 --> 00:54:04,157
through the changes that he made
to the Stephen King novel.

1044
00:54:04,158 --> 00:54:06,035
So if you watch
those three things,

1045
00:54:06,036 --> 00:54:09,495
you begin to understand
this deeper story.

1046
00:54:09,496 --> 00:54:14,333
And this deeper story
has its birth, I guess,

1047
00:54:14,334 --> 00:54:18,171
in the idea
that Stanley Kubrick

1048
00:54:18,172 --> 00:54:22,049
was involved with faking
the Apollo moon landings.

1049
00:54:22,050 --> 00:54:24,766
In fact, I contend that
<i>2001: A Space Odyssey,</i>

1050
00:54:24,767 --> 00:54:27,978
in part, was a research
and development project

1051
00:54:27,979 --> 00:54:30,520
for the Apollo footage
that was shot.

1052
00:54:30,521 --> 00:54:32,645
I'm not saying
we didn't go to the moon.

1053
00:54:32,646 --> 00:54:34,896
I'm just saying
that what we saw was faked

1054
00:54:34,897 --> 00:54:37,694
and that it was faked
by Stanley Kubrick.

1055
00:54:37,695 --> 00:54:40,238
And I've had Hollywood
special effects people

1056
00:54:40,239 --> 00:54:44,158
from the '60s and '70s who were
front-screen projection experts

1057
00:54:44,159 --> 00:54:47,956
tell me that I absolutely
have nailed the Apollo footage

1058
00:54:47,957 --> 00:54:51,871
as being the result of
front-screen projection.

1059
00:54:51,872 --> 00:54:54,375
Just go to any Apollo site
and look,

1060
00:54:54,376 --> 00:54:59,045
and you'll see that they have to
hide the bottom of the screen.

1061
00:54:59,046 --> 00:55:03,174
And you can always see
the set/screen separation line

1062
00:55:03,175 --> 00:55:07,136
in every Apollo footage,
every Apollo image,

1063
00:55:07,137 --> 00:55:11,140
and the video footage
that has a background.

1064
00:55:11,141 --> 00:55:13,976
And Richard Hoagland,
the researcher,

1065
00:55:13,977 --> 00:55:15,945
has looked
into the Apollo imagery.

1066
00:55:15,946 --> 00:55:19,315
And he has found
all sorts of problems with it

1067
00:55:19,316 --> 00:55:21,569
because in the sky
around the astronauts,

1068
00:55:21,570 --> 00:55:26,906
he's found reflecting lights
and refracting things and...

1069
00:55:26,907 --> 00:55:29,951
kind of a junk
and geometry of things

1070
00:55:29,952 --> 00:55:31,077
that are in the sky.

1071
00:55:31,078 --> 00:55:33,871
And he concluded, wrongly,

1072
00:55:33,872 --> 00:55:38,251
that there are gigantic
alien cities made out of glass.

1073
00:55:38,252 --> 00:55:42,421
What he's really seeing
is the reflections of light

1074
00:55:42,422 --> 00:55:46,634
of the tiny beads
on the scotch light screen

1075
00:55:46,635 --> 00:55:50,185
which is being used in the
front-screen projection process.

1076
00:55:50,186 --> 00:55:54,809
And so, once I nailed the
front-screen projection process

1077
00:55:54,810 --> 00:55:57,854
inside the Apollo footage,

1078
00:55:57,855 --> 00:56:02,567
then I became interested in
seeing if Kubrick left any clues

1079
00:56:02,568 --> 00:56:06,198
in the rest of his career
to his possible involvement

1080
00:56:06,199 --> 00:56:08,865
in faking
the Apollo moon footage.

1081
00:56:08,866 --> 00:56:14,370
And I was overjoyed
about two years ago

1082
00:56:14,371 --> 00:56:18,499
when I received my
Blu-Ray copy of <i>The Shining.</i>

1083
00:56:18,500 --> 00:56:20,840
And I put it
in my Blu-Ray machine

1084
00:56:20,841 --> 00:56:23,214
and sat down one night
to watch it.

1085
00:56:23,215 --> 00:56:29,218
And I realized that all of the
things that one could imagine

1086
00:56:29,219 --> 00:56:31,893
that Stanley Kubrick
would have had to go through

1087
00:56:31,894 --> 00:56:35,266
to fake
the Apollo moon footage...

1088
00:56:35,267 --> 00:56:36,735
and there in the movie,

1089
00:56:36,736 --> 00:56:41,105
every time that Stanley deviated
from the Stephen King novel,

1090
00:56:41,106 --> 00:56:44,525
he deviated
into those exact questions.

1091
00:56:44,526 --> 00:56:46,779
You know, what was it like
to make a deal

1092
00:56:46,780 --> 00:56:48,200
with the U.S. Government?

1093
00:56:48,201 --> 00:56:53,242
What was it like to accidentally
tell someone what you were doing

1094
00:56:53,243 --> 00:56:57,371
and to watch them possibly
have to suffer the consequences

1095
00:56:57,372 --> 00:56:59,332
of your lack of integrity?

1096
00:56:59,333 --> 00:57:03,336
What was it like
to lie to your wife

1097
00:57:03,337 --> 00:57:05,508
and tell her
that you were doing one thing

1098
00:57:05,509 --> 00:57:07,051
when you were doing another?

1099
00:57:07,052 --> 00:57:09,514
What was it like
when your wife found out

1100
00:57:09,515 --> 00:57:11,260
what you were really doing?

1101
00:57:11,261 --> 00:57:14,183
These are the questions
that I had long before

1102
00:57:14,184 --> 00:57:15,433
I had seen The Shining again

1103
00:57:15,434 --> 00:57:18,561
after a maybe an eight...
or nine-year absence.

1104
00:57:18,562 --> 00:57:23,022
And I didn't... wasn't sure
I was right for the first hour.

1105
00:57:23,023 --> 00:57:25,276
I wasn't sure
that I had actually...

1106
00:57:25,277 --> 00:57:27,744
you know, I wasn't sure
if I was blurring the line

1107
00:57:27,745 --> 00:57:32,031
between what I wanted to see
and what I was seeing.

1108
00:57:32,032 --> 00:57:34,704
And then at about
58 minutes in the film

1109
00:57:34,705 --> 00:57:37,954
is the famous scene where
Danny's playing with his trucks,

1110
00:57:37,955 --> 00:57:39,956
and he stands up

1111
00:57:39,957 --> 00:57:41,709
and he's wearing
the Apollo 11 sweater

1112
00:57:41,710 --> 00:57:43,626
with the rocket taking off.

1113
00:57:43,627 --> 00:57:46,545
Then I knew I'd nabbed it.

1114
00:57:46,546 --> 00:57:50,466
And then I started watching
the film with an intensity

1115
00:57:50,467 --> 00:57:53,061
that I don't think I'd
ever watched a movie before,

1116
00:57:53,062 --> 00:57:56,889
and every line
began ringing true.

1117
00:57:56,890 --> 00:58:02,019
You know, "Wendy, that is
just so typical of you.

1118
00:58:02,020 --> 00:58:03,363
"Don't you... don't you know

1119
00:58:03,364 --> 00:58:05,898
"I have obligations
to my employers?

1120
00:58:05,899 --> 00:58:09,026
"Do you have any idea
what a contract is?

1121
00:58:09,027 --> 00:58:11,075
Do you know
what an agreement is?"

1122
00:58:11,076 --> 00:58:15,366
jack Nicholson's whole tirade
against his wife...

1123
00:58:15,367 --> 00:58:17,702
that's Stanley.

1124
00:58:17,703 --> 00:58:21,626
That's Stanley telling his wife
that after she discovered

1125
00:58:21,627 --> 00:58:24,593
what he was doing,
which was the Apollo footage.

1126
00:58:44,896 --> 00:58:46,318
No, that's actually not true.

1127
00:58:46,319 --> 00:58:48,774
If you call
the Mount Hood Resort

1128
00:58:48,775 --> 00:58:50,818
and you ask for room 217

1129
00:58:50,819 --> 00:58:53,163
you will find
there is no such room.

1130
00:58:53,164 --> 00:58:54,947
So that's just not true.

1131
00:58:54,948 --> 00:58:56,991
That statement's not true.

1132
00:58:56,992 --> 00:59:00,870
And so what...

1133
00:59:00,871 --> 00:59:02,455
Stanley was lying.

1134
00:59:02,456 --> 00:59:04,629
Its not the reason
that he changed the room number

1135
00:59:04,630 --> 00:59:07,668
from 217 to 237.

1136
00:59:07,669 --> 00:59:11,464
The reason that
he changed it from 217 to 237

1137
00:59:11,465 --> 00:59:17,178
was because the room,
room 237 in the film is...

1138
00:59:17,179 --> 00:59:20,900
represents the moon landing
stage where he worked.

1139
00:59:25,062 --> 00:59:30,524
And the moon, the standard
science textbook said...

1140
00:59:30,525 --> 00:59:32,026
and they still say...

1141
00:59:32,027 --> 00:59:35,156
but now with lasers, we've
gotten a little better reading.

1142
00:59:35,157 --> 00:59:39,784
But... is that
the mean distance of the moon

1143
00:59:39,785 --> 00:59:44,038
from the earth
is exactly 237,000 miles.

1144
00:59:44,039 --> 00:59:47,213
So he changed that
so that you would understand

1145
00:59:47,214 --> 00:59:49,460
that this was the moon room.

1146
00:59:49,461 --> 00:59:51,170
So Danny stands up.

1147
00:59:51,171 --> 00:59:53,589
He's got
the Apollo 11 sweater on.

1148
00:59:53,590 --> 00:59:56,592
He begins
walking down the hallway

1149
00:59:56,593 --> 00:59:58,761
towards room 237.

1150
00:59:58,762 --> 01:00:01,680
And there's a key in the lock.

1151
01:00:01,681 --> 01:00:03,557
And on the key are...

1152
01:00:03,558 --> 01:00:07,978
is the words "room"
and then the word "n-o,"

1153
01:00:07,979 --> 01:00:11,482
which is an old acronym
for "number."

1154
01:00:11,483 --> 01:00:13,192
So "room number 237,"

1155
01:00:13,193 --> 01:00:16,117
except that the only
capital letters on the key

1156
01:00:16,118 --> 01:00:20,574
are r-o-o-m and then the "n"
from the acronym n-o.

1157
01:00:20,575 --> 01:00:23,916
And if there's only two words
that you can come up with

1158
01:00:23,917 --> 01:00:25,958
that have those letters in 'em.

1159
01:00:25,959 --> 01:00:27,708
And that's "moon" and "room."

1160
01:00:27,709 --> 01:00:32,962
And so on the key, the tag,
it says "moon room."

1161
01:00:32,963 --> 01:00:34,383
And that is the moon room.

1162
01:00:34,384 --> 01:00:35,758
This is where
everything happens,

1163
01:00:35,759 --> 01:00:37,299
and none of it's real.

1164
01:00:37,300 --> 01:00:39,552
And it all has to be lied about.

1165
01:00:39,553 --> 01:00:42,306
And he can't let anyone know
what's really going on

1166
01:00:42,307 --> 01:00:44,932
in room 237.

1167
01:00:44,933 --> 01:00:48,936
And there's many, many other
deviations from the book

1168
01:00:48,937 --> 01:00:50,062
to the movie.

1169
01:00:50,063 --> 01:00:51,730
- It isn't real.

1170
01:00:51,731 --> 01:00:54,780
- The deviations drove
Stephen King out of his mind.

1171
01:00:54,781 --> 01:00:57,486
He just ranted
and ranted for years

1172
01:00:57,487 --> 01:00:59,572
how much he hated The Shining.

1173
01:00:59,573 --> 01:01:01,450
And he hated it
because he'd given Kubrick

1174
01:01:01,451 --> 01:01:02,950
all this great source material

1175
01:01:02,951 --> 01:01:05,578
and Kubrick threw it out.

1176
01:01:05,579 --> 01:01:10,708
And the whole idea of this
is best exemplified

1177
01:01:10,709 --> 01:01:13,335
by the scene
where Dick Hallorann

1178
01:01:13,336 --> 01:01:15,007
is driving up the highway,

1179
01:01:15,008 --> 01:01:18,009
trying to get to the Overlook
during a winter storm

1180
01:01:18,010 --> 01:01:20,259
and he passes a wreck.

1181
01:01:20,260 --> 01:01:23,429
And in the wreck,
a semi has crashed

1182
01:01:23,430 --> 01:01:27,224
and crushed a red Volkswagen.

1183
01:01:27,225 --> 01:01:31,103
And this is a direct message
from Kubrick to King,

1184
01:01:31,104 --> 01:01:33,272
because in the novel,

1185
01:01:33,273 --> 01:01:36,734
Jack Torrance's car
is a red Volkswagen.

1186
01:01:36,735 --> 01:01:39,156
But in the movie,
it's a yellow Volkswagen.

1187
01:01:39,157 --> 01:01:41,623
And what Kubrick
is saying in that scene

1188
01:01:41,624 --> 01:01:44,742
is a big "F you"
to Stephen King.

1189
01:01:44,743 --> 01:01:47,912
He's saying,
'This is my vehicle.

1190
01:01:47,913 --> 01:01:49,955
"I have wrecked your vehicle.

1191
01:01:49,956 --> 01:01:52,917
And everybody in the world
can see it.'

1192
01:01:52,918 --> 01:01:54,636
And this drove King crazy.

1193
01:01:54,637 --> 01:01:56,295
And it should have.

1194
01:01:56,296 --> 01:01:57,798
But what was really going on

1195
01:01:57,799 --> 01:02:03,969
and what is just much more
deliciously fascinating

1196
01:02:03,970 --> 01:02:07,264
about all of this
is that, in fact,

1197
01:02:07,265 --> 01:02:11,560
Kubrick was faking the making
of the Stephen King novel

1198
01:02:11,561 --> 01:02:15,481
in order to reveal the idea
of what he went through

1199
01:02:15,482 --> 01:02:17,951
to do the Apollo moon footage.

1200
01:02:27,577 --> 01:02:29,498
- My argument,
as far as Kubrick goes,

1201
01:02:29,499 --> 01:02:32,841
is that he was a
preternaturally observant child.

1202
01:02:32,842 --> 01:02:35,000
He read omnivorously.

1203
01:02:35,001 --> 01:02:37,169
He went to movies all the time.

1204
01:02:37,170 --> 01:02:41,095
And I think if you're going to
movies and reading in the 1930s

1205
01:02:41,096 --> 01:02:45,219
and the 1940s, a lot of what
you're seeing and reading

1206
01:02:45,220 --> 01:02:49,223
is Hitler and the Nazis
and the war.

1207
01:02:49,224 --> 01:02:55,521
So as a sensitive kid, he must
have been alive to these things.

1208
01:02:55,522 --> 01:02:58,617
And I don't think he ever forgot
anything, and this is...

1209
01:02:58,618 --> 01:03:01,157
which is why his films
are so rich.

1210
01:03:02,362 --> 01:03:04,863
- Little pigs, little pigs,

1211
01:03:04,864 --> 01:03:06,832
let me come in.

1212
01:03:08,576 --> 01:03:11,625
Not by the hair
on your chinny-chin-chin?

1213
01:03:13,581 --> 01:03:17,543
Then I'll huff and I'll puff...

1214
01:03:17,544 --> 01:03:19,086
- And I'll blow your house in!

1215
01:03:19,087 --> 01:03:20,304
- Well,
<i>The Three Little Pigs,</i>

1216
01:03:20,305 --> 01:03:21,924
I mean, I don't remember...

1217
01:03:21,925 --> 01:03:24,472
That might have been one of
the things

1218
01:03:24,473 --> 01:03:27,052
that Jack Nicholson

1219
01:03:27,053 --> 01:03:29,096
might've ad-libbed initially.

1220
01:03:29,097 --> 01:03:30,895
Kubrick was a great believer
in that.

1221
01:03:30,896 --> 01:03:34,310
But even if it was,
I think the selection

1222
01:03:34,311 --> 01:03:38,314
of that particular little rhyme

1223
01:03:38,315 --> 01:03:41,775
certainly fits in
with the time periodization

1224
01:03:41,776 --> 01:03:43,369
I've just been talking about,

1225
01:03:43,370 --> 01:03:47,281
because Kubrick
would've run across that

1226
01:03:47,282 --> 01:03:49,535
when he saw
<i>The Three Little Pigs</i>

1227
01:03:49,536 --> 01:03:53,412
as an Academy Award winning
cartoon in 1933.

1228
01:03:53,413 --> 01:03:56,749
And so it comes
out of that period.

1229
01:03:56,750 --> 01:04:01,712
And so the whole idea of a wolf,
which, during the 1930s,

1230
01:04:01,713 --> 01:04:08,260
gradually transformed itself
in popular mythology

1231
01:04:08,261 --> 01:04:11,096
and popular culture
from being a symbol

1232
01:04:11,097 --> 01:04:16,185
of want and of hunger
in the Great Depression

1233
01:04:16,186 --> 01:04:19,730
into a symbol of enemies;

1234
01:04:19,731 --> 01:04:22,608
Enemy nations,
enemy peoples,

1235
01:04:22,609 --> 01:04:23,904
military aggression.

1236
01:04:23,905 --> 01:04:26,824
And of course, this reflects
the rise of fascism

1237
01:04:26,825 --> 01:04:28,118
and Nazis in Europe.

1238
01:04:28,119 --> 01:04:31,450
But initially,
the wolf at the door

1239
01:04:31,451 --> 01:04:35,954
was an anti-Semitic
stereotype and caricature

1240
01:04:35,955 --> 01:04:39,917
that... initially the wolf
wears a disguise.

1241
01:04:39,918 --> 01:04:41,135
And the background music

1242
01:04:41,136 --> 01:04:44,671
is clearly Eastern European
sort of klezmer

1243
01:04:44,672 --> 01:04:46,298
or Yiddish music.

1244
01:04:46,299 --> 01:04:49,093
And it's a classic example

1245
01:04:49,094 --> 01:04:53,430
of early 1930s
Walt Disney anti-Semitism.

1246
01:04:53,431 --> 01:04:56,475
So I think there
are layers of meaning

1247
01:04:56,476 --> 01:04:58,315
<i>in The Three Little Pigs. "</i>

1248
01:04:58,316 --> 01:05:00,312
And since Kubrick
was a Freudian

1249
01:05:00,313 --> 01:05:04,608
and we know
that he used Freudian work

1250
01:05:04,609 --> 01:05:07,533
in doing the screenplay
for The Shining...

1251
01:05:07,534 --> 01:05:10,781
Bruno Bettelheim's
<i>The Uses of Enchantment...</i>

1252
01:05:10,782 --> 01:05:14,455
and it's a Freudian analysis
of the meaning of fairy tales.

1253
01:05:14,456 --> 01:05:17,167
<i>And in The Shining,
we can see the fruits of that</i>

1254
01:05:17,168 --> 01:05:20,332
when they're constantly making
references to Hansel and Gretel.

1255
01:05:20,333 --> 01:05:21,880
- I feel like I'll have
to leave a trail of bread crumbs

1256
01:05:21,881 --> 01:05:23,715
every time we come in here.

1257
01:05:23,716 --> 01:05:25,838
- The witch in the oven
and children being burned

1258
01:05:25,839 --> 01:05:27,303
and so forth,
which of course,

1259
01:05:27,304 --> 01:05:31,223
is also perhaps, suggestive
when it comes to the Holocaust.

1260
01:05:36,182 --> 01:05:37,771
- The blood
is one of the main ghosts

1261
01:05:37,772 --> 01:05:39,813
and perhaps
the overarching ghost,

1262
01:05:39,814 --> 01:05:41,525
in a certain sense,
in this movie.

1263
01:05:41,526 --> 01:05:45,107
We first see it when Danny,
at the beginning of the movie,

1264
01:05:45,108 --> 01:05:46,576
is at the sink
in the little apartment

1265
01:05:46,577 --> 01:05:50,863
down in Denver or Boulder
or wherever it is.

1266
01:05:50,864 --> 01:05:52,241
And he's talking to Danny,

1267
01:05:52,242 --> 01:05:53,867
"Why don't
you want to go there?"

1268
01:05:56,411 --> 01:06:00,041
And then suddenly
Danny shows him blood.

1269
01:06:01,040 --> 01:06:03,750
And as we learn
a little bit later,

1270
01:06:03,751 --> 01:06:06,675
the Overlook was built
on the Indian burial ground

1271
01:06:06,676 --> 01:06:08,338
between 1907 and 1909.

1272
01:06:08,339 --> 01:06:10,841
- Construction started in 1907.

1273
01:06:10,842 --> 01:06:13,010
It was finished in 1909.

1274
01:06:13,011 --> 01:06:14,354
The site
is supposed to be located

1275
01:06:14,355 --> 01:06:15,721
on an Indian burial ground,

1276
01:06:15,722 --> 01:06:17,142
and I believe they actually had

1277
01:06:17,143 --> 01:06:19,689
to repel a few Indian attacks
as they were building it.

1278
01:06:21,603 --> 01:06:24,607
- So presumably,
we can imagine the elevator

1279
01:06:24,608 --> 01:06:27,951
shaft sinks down into
the very bodies of the Indians,

1280
01:06:27,952 --> 01:06:29,151
so to speak.

1281
01:06:29,152 --> 01:06:31,153
And that's where
the blood is coming from;

1282
01:06:31,154 --> 01:06:33,122
Literal blood of the Indians.

1283
01:06:49,756 --> 01:06:52,305
And this movie is a movie about,
among other things,

1284
01:06:52,306 --> 01:06:55,219
the blood on which
nations are built;

1285
01:06:55,220 --> 01:06:56,390
Certainly the United States,

1286
01:06:56,391 --> 01:06:59,106
with the genocide
of the American Indians.

1287
01:06:59,107 --> 01:07:00,933
But it's not only that.

1288
01:07:00,934 --> 01:07:04,279
This is a complete metaphor
for what Kubrick is on about,

1289
01:07:04,280 --> 01:07:08,565
because the elevator's doors
remain closed.

1290
01:07:08,566 --> 01:07:10,737
In other words,
it's as if it's like a symbol

1291
01:07:10,738 --> 01:07:11,949
of the repression.

1292
01:07:11,950 --> 01:07:13,409
We don't want to admit to it.

1293
01:07:13,410 --> 01:07:16,870
But in spite of our attempting
to stay repressed about it,

1294
01:07:16,871 --> 01:07:18,617
blood will out,
murder will out,

1295
01:07:18,618 --> 01:07:20,586
as Chaucer says
in one of his tales.

1296
01:07:20,587 --> 01:07:26,291
And so the blood comes
squeezing out from the side

1297
01:07:26,292 --> 01:07:27,960
and overwhelms us.

1298
01:07:27,961 --> 01:07:31,682
And it keeps recurring
over and over through the movie.

1299
01:07:31,683 --> 01:07:33,298
And it's...

1300
01:07:33,299 --> 01:07:36,390
And finally Wendy, when,
at the very end of the movie,

1301
01:07:36,391 --> 01:07:37,888
she starts seeing ghosts.

1302
01:07:37,889 --> 01:07:39,139
She sees the blood.

1303
01:07:39,140 --> 01:07:43,141
It's the symbol
of what we all have in common.

1304
01:07:43,142 --> 01:07:44,359
And there's
lots of symbols in here

1305
01:07:44,360 --> 01:07:45,899
of what all humans
have in common.

1306
01:07:50,358 --> 01:07:52,442
- 42 shows up in other places.

1307
01:07:52,443 --> 01:07:56,905
Wendy and Danny
watch The <i>Summer</i> of '42

1308
01:07:56,906 --> 01:07:58,407
on a hotel television.

1309
01:07:58,408 --> 01:08:00,993
And there are
a number of other

1310
01:08:00,994 --> 01:08:03,122
little references
to that number.

1311
01:08:03,123 --> 01:08:05,249
And it's within a larger context

1312
01:08:05,250 --> 01:08:08,834
that Kubrick uses involving
numbers in The Shining.

1313
01:08:08,835 --> 01:08:11,008
And they're all
multiples of seven.

1314
01:08:11,009 --> 01:08:14,339
The hotel was built in 1907.

1315
01:08:14,340 --> 01:08:17,640
The party in which Jack
is pictured at the end of film

1316
01:08:17,641 --> 01:08:21,471
occurred in 1921 in July,

1317
01:08:21,472 --> 01:08:24,016
the seventh month of the year.

1318
01:08:24,017 --> 01:08:29,771
These multiples of seven,
I think,

1319
01:08:29,772 --> 01:08:30,944
also reflect the fact

1320
01:08:30,945 --> 01:08:34,151
that Kubrick was aware
of the importance

1321
01:08:34,152 --> 01:08:38,030
of Thomas Mann's novel of 1924,
<i>The Magic Mountain,</i>

1322
01:08:38,031 --> 01:08:41,033
which similarly concerns
a sanitarium...

1323
01:08:41,034 --> 01:08:44,578
though not a hotel...
high up in the mountains.

1324
01:08:44,579 --> 01:08:51,627
And Mann uses the number 7
there as a matter,

1325
01:08:51,628 --> 01:08:56,757
a symbol of
the sort of dangerous fate

1326
01:08:56,758 --> 01:09:00,228
that seems to have been
stalking Europe lately.

1327
01:09:06,434 --> 01:09:13,649
And in the novel <i>Lolita,
Nabokov uses the number 42</i>

1328
01:09:13,650 --> 01:09:17,110
as a symbol of fate
and Humbert's paranoia,

1329
01:09:17,111 --> 01:09:19,738
the idea that
he is constantly being tracked

1330
01:09:19,739 --> 01:09:21,537
and that his life is doomed.

1331
01:09:21,538 --> 01:09:24,868
And even though Kubrick,
in his film of Lolita,

1332
01:09:24,869 --> 01:09:27,287
only uses the number once,

1333
01:09:27,288 --> 01:09:30,085
interestingly enough
on a hotel room door,

1334
01:09:30,086 --> 01:09:32,711
I think at some level
of consciousness,

1335
01:09:32,712 --> 01:09:36,463
Kubrick was always
also drawing from Nabokov's use

1336
01:09:36,464 --> 01:09:38,298
of that particular number

1337
01:09:38,299 --> 01:09:44,602
as a symbol of danger
and malevolence and disaster.

1338
01:09:49,811 --> 01:09:53,236
- The opening sound
is from the great funeral mass,

1339
01:09:53,237 --> 01:09:56,108
<i>Dies Irae,
which is the day of judgment,</i>

1340
01:09:56,109 --> 01:09:58,155
which announces,
"This is going to be a funeral.

1341
01:09:58,156 --> 01:10:00,496
"This is going to be about
a judgment on the human race."

1342
01:10:00,497 --> 01:10:02,155
It's about the past.

1343
01:10:02,156 --> 01:10:05,701
But I think I remembered

1344
01:10:05,702 --> 01:10:09,204
that my impression
from the opening scene

1345
01:10:09,205 --> 01:10:11,501
in which that astonishing
helicopter shot

1346
01:10:11,502 --> 01:10:13,627
gives you
a totally creepy feeling.

1347
01:10:13,628 --> 01:10:16,962
You're looking at great,
beautiful nature,

1348
01:10:16,963 --> 01:10:19,341
but you know
you're following something.

1349
01:10:19,342 --> 01:10:20,592
You're, like, flying along

1350
01:10:20,593 --> 01:10:24,302
on top of this little,
tiny, insignificant car.

1351
01:10:24,303 --> 01:10:26,518
It's the ultimate
point of view shot

1352
01:10:26,519 --> 01:10:28,974
without telling you
who the point of view is.

1353
01:10:28,975 --> 01:10:30,318
If you want
to stop and think about it,

1354
01:10:30,319 --> 01:10:32,399
you think,
'This is a helicopter shot"

1355
01:10:32,400 --> 01:10:33,608
But for the general audience,

1356
01:10:33,609 --> 01:10:35,731
all you know is that
you are like a ghost.

1357
01:10:35,732 --> 01:10:37,152
You are like an angel.

1358
01:10:37,153 --> 01:10:38,275
You are like something

1359
01:10:38,276 --> 01:10:41,027
that flies
with supernatural abilities

1360
01:10:41,028 --> 01:10:44,322
across the landscape
of the planet.

1361
01:10:44,323 --> 01:10:48,326
And the soundtrack had
that skittering...

1362
01:10:48,327 --> 01:10:49,578
I can't imitate it...

1363
01:10:49,579 --> 01:10:52,205
but that skittering music
that sounded to me...

1364
01:10:52,206 --> 01:10:54,504
and I was conscious of this
the first time I saw the movie...

1365
01:10:54,505 --> 01:10:58,086
like the thousands
of voices from the past.

1366
01:10:58,087 --> 01:11:01,339
"The cloud of witness,"
as the phrase is in...

1367
01:11:01,340 --> 01:11:03,800
Dorothy Sayers uses it
as the title for some story.

1368
01:11:03,801 --> 01:11:05,849
The cloud of witness,
all the ghosts from the past;

1369
01:11:05,850 --> 01:11:07,017
And I didn't know.

1370
01:11:07,018 --> 01:11:10,515
Were these the voices
of the many crowds

1371
01:11:10,516 --> 01:11:13,310
of aliens or of ghosts or...

1372
01:11:13,311 --> 01:11:14,358
I didn't know what.

1373
01:11:14,359 --> 01:11:17,564
But already that
skittering, high music

1374
01:11:17,565 --> 01:11:19,693
with that follow shot
across the lake

1375
01:11:19,694 --> 01:11:24,362
and then across the car itself,

1376
01:11:24,363 --> 01:11:26,072
it was the ultimate in spooky

1377
01:11:26,073 --> 01:11:28,200
because you had the feeling
this car is being followed

1378
01:11:28,201 --> 01:11:30,078
and it doesn't know it,
and we're following it.

1379
01:11:30,079 --> 01:11:32,078
I mean, I could go on
for a long time

1380
01:11:32,079 --> 01:11:35,707
about the symbolism of that

1381
01:11:35,708 --> 01:11:38,632
with regard to what The Shining
<i>really</i> is.

1382
01:11:38,633 --> 01:11:41,963
<i>And The Shining,
as we come to understand it,</i>

1383
01:11:41,964 --> 01:11:44,511
is seeing through
all the layers of history

1384
01:11:44,512 --> 01:11:46,098
and the horrors of history,

1385
01:11:46,099 --> 01:11:48,345
even autobiographically
in that scene

1386
01:11:48,346 --> 01:11:55,393
where Grady and Jack talk
in the blood-red men's room

1387
01:11:55,394 --> 01:11:57,646
and Grady says, "Your son
has a very great talent.

1388
01:11:57,647 --> 01:11:59,149
"I don't think
you realize how great it is.

1389
01:11:59,150 --> 01:12:00,398
He's a very willful boy."

1390
01:12:00,399 --> 01:12:01,399
And Jack says, "Yes, he is..."

1391
01:12:01,400 --> 01:12:03,527
- A very willful boy.

1392
01:12:03,528 --> 01:12:06,112
- Did you know, Mr. Torrance,

1393
01:12:06,113 --> 01:12:11,159
that your son is attempting
to bring an outside party

1394
01:12:11,160 --> 01:12:12,828
into this situation?

1395
01:12:12,829 --> 01:12:15,038
- That's Kubrick.

1396
01:12:15,039 --> 01:12:16,915
What he's trying to do
is bring the audience

1397
01:12:16,916 --> 01:12:19,292
and humanity
into this situation.

1398
01:12:19,293 --> 01:12:24,130
In this movie, he is trying
to get through to us all...

1399
01:12:24,131 --> 01:12:26,633
the human race in the movie
theaters watching this...

1400
01:12:26,634 --> 01:12:30,095
that we are doing these things
but don't see it,

1401
01:12:30,096 --> 01:12:32,806
that we are committing
these horrendous things

1402
01:12:32,807 --> 01:12:34,182
over and over again
and then forgetting them...

1403
01:12:34,183 --> 01:12:35,526
which is... of course,
he represents

1404
01:12:35,527 --> 01:12:37,566
many, many times in the movie...

1405
01:12:37,567 --> 01:12:40,897
by having characters
seem to know something

1406
01:12:40,898 --> 01:12:42,696
and then not know it
and forget it.

1407
01:12:42,697 --> 01:12:49,823
- You, uh, chopped your wife and
daughter up into little bits.

1408
01:12:49,824 --> 01:12:52,327
- I don't have any recollection
of that at all.

1409
01:12:52,328 --> 01:12:53,665
- That's like the human race.

1410
01:12:53,666 --> 01:12:55,880
We commit atrocities
and then forget it.

1411
01:13:04,881 --> 01:13:07,302
- Bill, I'd like you
to meet Jack Torrance.

1412
01:13:07,303 --> 01:13:08,300
- How do you do?

1413
01:13:08,301 --> 01:13:09,301
- Bill, how do you do?

1414
01:13:09,302 --> 01:13:10,302
- It's nice to meet you.

1415
01:13:10,303 --> 01:13:11,303
- It's a pleasure to meet you.

1416
01:13:11,304 --> 01:13:13,346
- Some people think that,

1417
01:13:13,347 --> 01:13:15,691
like, not all
of the interview is real.

1418
01:13:15,692 --> 01:13:18,894
Some of it is Jack's
imagination or fantasy

1419
01:13:18,895 --> 01:13:23,940
of what the interview
would be like.

1420
01:13:23,941 --> 01:13:28,862
Like, also, Bill Watson's
clothes change.

1421
01:13:28,863 --> 01:13:31,531
Like,
his pants change patterns.

1422
01:13:31,532 --> 01:13:32,908
And what's also weird is,

1423
01:13:32,909 --> 01:13:36,334
he plays Pontius Pilate
in <i>Jesus Christ Superstar.</i>

1424
01:13:36,335 --> 01:13:37,662
- ♪ Crucify him ♪

1425
01:13:37,663 --> 01:13:38,705
♪ Crucify him ♪

1426
01:13:38,706 --> 01:13:41,583
♪ Crucify, crucify, crucify ♪

1427
01:13:41,584 --> 01:13:42,881
- Really playing against type

1428
01:13:42,882 --> 01:13:45,712
and just being
this sort of cipher.

1429
01:13:45,713 --> 01:13:51,301
I mean, in a way he's,
he's kind of Jack's double

1430
01:13:51,302 --> 01:13:54,772
kind of in the same way that
Bill Hartford has a double

1431
01:13:54,773 --> 01:13:57,891
in <i>Eyes Wide Shut.</i>

1432
01:13:57,892 --> 01:14:00,983
You know, he goes
to that blonde woman's house

1433
01:14:00,984 --> 01:14:02,321
whose father just died

1434
01:14:02,322 --> 01:14:05,857
and her fiancé looks
exactly like Tom Cruise,

1435
01:14:05,858 --> 01:14:06,859
has the same haircut.

1436
01:14:08,361 --> 01:14:12,159
- I've always thought that Bill
Watson, the little assistant...

1437
01:14:12,160 --> 01:14:15,706
and by little, I mean that he's
sort of a shrunken figure...

1438
01:14:15,707 --> 01:14:19,329
to Ullman, who's brought in
and sits there

1439
01:14:19,330 --> 01:14:22,874
looking sort of dour
and resentful and quiet

1440
01:14:22,875 --> 01:14:27,128
and whose skin color
is sort of a half...

1441
01:14:27,129 --> 01:14:28,129
it's not white.

1442
01:14:28,130 --> 01:14:30,548
It's sort of toward brown.

1443
01:14:30,549 --> 01:14:34,554
I've always thought that he
sort of represents a subdued...

1444
01:14:34,555 --> 01:14:36,393
somebody from a subdued race.

1445
01:14:36,394 --> 01:14:39,393
He seems a little bit diffident
when Ullman says,

1446
01:14:39,394 --> 01:14:41,313
"Will you go
collect their luggage?"

1447
01:14:41,314 --> 01:14:42,310
He says, "Fine."

1448
01:14:42,311 --> 01:14:43,603
- Fine.

1449
01:14:43,604 --> 01:14:45,698
- And as they're given the tour
around all the hotel,

1450
01:14:45,699 --> 01:14:47,857
Bill Watson
is always trailing behind,

1451
01:14:47,858 --> 01:14:49,405
like somebody who's going
to be a little factotum

1452
01:14:49,406 --> 01:14:50,777
to go get things.

1453
01:14:50,778 --> 01:14:52,654
I've always thought
he sort of maybe represented,

1454
01:14:52,655 --> 01:14:57,033
you know, the condition in
the dominant arrogant culture

1455
01:14:57,034 --> 01:14:59,332
that the Indians
had at that time.

1456
01:15:02,832 --> 01:15:08,962
- He is the silent guardian

1457
01:15:08,963 --> 01:15:10,922
for the government.

1458
01:15:10,923 --> 01:15:15,093
Stewart Ullman represents
the face of the U.S. government.

1459
01:15:15,094 --> 01:15:16,937
And that's why Kubrick
gave him the toupee

1460
01:15:16,938 --> 01:15:19,931
that makes him look like
John F. Kennedy.

1461
01:15:19,932 --> 01:15:23,643
And I think that he is the guy

1462
01:15:23,644 --> 01:15:27,480
who's silently watching
everything and, you know...

1463
01:15:27,481 --> 01:15:29,149
CIA, I guess.

1464
01:15:29,150 --> 01:15:31,109
Kind of NSA guy.

1465
01:15:31,110 --> 01:15:34,279
And he probably represents

1466
01:15:34,280 --> 01:15:38,491
the real managers of the house,

1467
01:15:38,492 --> 01:15:42,287
of the Overlook,
and Barry Nelson is the...

1468
01:15:42,288 --> 01:15:44,416
just the person
that's out in front.

1469
01:15:44,417 --> 01:15:46,458
- He doesn't say a thing.

1470
01:15:46,459 --> 01:15:47,798
He's the summer caretaker.

1471
01:15:47,799 --> 01:15:49,007
And he seems to me

1472
01:15:49,008 --> 01:15:51,131
to have certain
correspondences with Wendy.

1473
01:15:51,132 --> 01:15:53,383
Jack really doesn't
work around the hotel.

1474
01:15:53,384 --> 01:15:55,678
Wendy gets in there,
and she does all the work.

1475
01:15:55,679 --> 01:15:58,598
- You do get the feeling
that he's going...

1476
01:15:58,599 --> 01:16:00,519
that Jack's going
to be doing his work,

1477
01:16:00,520 --> 01:16:04,100
because he seems a little,
like, leery of Jack.

1478
01:16:04,101 --> 01:16:05,477
Like, I've been
in job interviews,

1479
01:16:05,478 --> 01:16:07,479
and I've always found
that that second person

1480
01:16:07,480 --> 01:16:08,857
they call in is,
like, the person

1481
01:16:08,858 --> 01:16:11,566
you're actually
interviewing for.

1482
01:16:11,567 --> 01:16:13,911
He's making the decision,
like, that silent person,

1483
01:16:13,912 --> 01:16:18,323
that, like...
kind of, like, glare...

1484
01:16:18,324 --> 01:16:20,533
like, squints at you.

1485
01:16:20,534 --> 01:16:26,664
Yeah, and he sighs when he's
asked to move Jack's luggage.

1486
01:16:26,665 --> 01:16:28,166
- Bill, would you have
the Torrances' things

1487
01:16:28,167 --> 01:16:29,214
brought to their apartment?

1488
01:16:29,215 --> 01:16:30,427
- Fine.

1489
01:16:34,882 --> 01:16:37,722
- There's a dissolve
which fades from a wide shot

1490
01:16:37,723 --> 01:16:40,767
of the, you know,
final black-and-white photo

1491
01:16:40,768 --> 01:16:43,098
to a close-up of Jack's face.

1492
01:16:43,099 --> 01:16:46,935
And just for a second there,

1493
01:16:46,936 --> 01:16:50,782
his hairline fades in
to form a Hitler moustache.

1494
01:16:59,240 --> 01:17:01,789
- I think a lot of things
happened right here

1495
01:17:01,790 --> 01:17:05,829
in this particular hotel
over the years

1496
01:17:05,830 --> 01:17:08,299
and not all of 'em was good.

1497
01:17:10,209 --> 01:17:11,584
- He once said,

1498
01:17:11,585 --> 01:17:12,880
"How do you get all of that"...

1499
01:17:12,881 --> 01:17:13,970
meaning the Holocaust...

1500
01:17:13,971 --> 01:17:15,797
"into a two-hour movie?"

1501
01:17:15,798 --> 01:17:22,428
I think he found the Holocaust
of such evil magnitude

1502
01:17:22,429 --> 01:17:24,773
that he just couldn't
bring himself

1503
01:17:24,774 --> 01:17:26,891
to treat it directly,

1504
01:17:26,892 --> 01:17:31,771
which is why he used
the form of a horror film

1505
01:17:31,772 --> 01:17:34,149
to treat it indirectly.

1506
01:17:34,150 --> 01:17:37,819
- I believe Kubrick,
possibly consciously,

1507
01:17:37,820 --> 01:17:43,074
has solved a kind of problem
that history has,

1508
01:17:43,075 --> 01:17:46,244
which is that
it's very hard for many people

1509
01:17:46,245 --> 01:17:49,169
to connect emotionally
to a gigantic big killing

1510
01:17:49,170 --> 01:17:50,957
we hear about in the past.

1511
01:17:50,958 --> 01:17:53,585
People who don't have
direct family experience

1512
01:17:53,586 --> 01:17:55,712
of it themselves
may hear the statistic.

1513
01:17:55,713 --> 01:17:57,135
You know, Hitler,
among other things,

1514
01:17:57,136 --> 01:17:59,177
killed 6 million Jews
in his Holocaust.

1515
01:17:59,178 --> 01:18:00,677
6 million's a number too big.

1516
01:18:00,678 --> 01:18:03,054
I mean Stalin is reputed
to have said, you know,

1517
01:18:03,055 --> 01:18:05,224
"You kill one person,
it's a murder and a tragedy.

1518
01:18:05,225 --> 01:18:07,849
"You kill a million people,
it's a statistic."

1519
01:18:07,850 --> 01:18:11,644
He was talking about
a psychological fact.

1520
01:18:11,645 --> 01:18:14,898
And, you know, Stalin himself
was... what is it...

1521
01:18:14,899 --> 01:18:16,321
starved about 3 million people

1522
01:18:16,322 --> 01:18:19,867
in the western Ukraine
in the '30s on purpose.

1523
01:18:20,988 --> 01:18:25,283
My point is
it may be that Kubrick

1524
01:18:25,284 --> 01:18:27,956
was conscious of having
offered a kind of way to bridge

1525
01:18:27,957 --> 01:18:32,170
that inability to feel for those
gigantic statistics in that,

1526
01:18:32,171 --> 01:18:34,713
<i>if you go and</i> see <i>The Shining
innocent the first time</i>

1527
01:18:34,714 --> 01:18:37,212
and are terrified...
you're just terrified

1528
01:18:37,213 --> 01:18:40,092
and you'll always remember
being terrified...

1529
01:18:40,093 --> 01:18:44,010
and then go back
aware of what the symbolism

1530
01:18:44,011 --> 01:18:47,728
and the general larger pattern
meanings of the movie are,

1531
01:18:47,729 --> 01:18:50,772
then you can begin to make
something of a connection,

1532
01:18:50,773 --> 01:18:53,102
saying, "Oh, my God."

1533
01:18:53,103 --> 01:18:54,320
I remember being terrified

1534
01:18:54,321 --> 01:18:57,941
for the individual
little Danny and Wendy here.

1535
01:18:57,942 --> 01:19:01,361
And that feeling is actually
being...

1536
01:19:01,362 --> 01:19:03,740
is for people who are symbols
of victims

1537
01:19:03,741 --> 01:19:06,583
of all kinds
of horrendous genocides.

1538
01:19:08,494 --> 01:19:13,706
And of course, his wife
has subsequently talked about,

1539
01:19:13,707 --> 01:19:16,005
you know, how close he came
to making his Holocaust movie,

1540
01:19:16,006 --> 01:19:18,628
<i>The Aryan Papers,
but that he got mom and mom</i>

1541
01:19:18,629 --> 01:19:20,343
and more depressed
and was relieved

1542
01:19:20,344 --> 01:19:22,182
when he had an excuse
not to do it.

1543
01:19:22,183 --> 01:19:24,717
<i>He used Schindler's List
as saying,</i>

1544
01:19:24,718 --> 01:19:26,140
"Ah, it's already been done."

1545
01:19:26,141 --> 01:19:29,347
I mean,
that struck a bell with me.

1546
01:19:29,348 --> 01:19:31,442
And I've done a lot
of stories as a journalist

1547
01:19:31,443 --> 01:19:34,894
about people who study...

1548
01:19:34,895 --> 01:19:37,193
either talked to people
who are victims of horrors

1549
01:19:37,194 --> 01:19:38,606
or study it.

1550
01:19:38,607 --> 01:19:41,197
And there's... Freud talked
about it as the contagion.

1551
01:19:41,198 --> 01:19:42,694
The depression seeps into you.

1552
01:19:42,695 --> 01:19:47,073
It's... you know what...
Kubrick had a wonderful comment

1553
01:19:47,074 --> 01:19:49,327
about this
when somebody asked him.

1554
01:19:49,328 --> 01:19:52,421
"Isn't it true that
your movies are showing us

1555
01:19:52,422 --> 01:19:55,581
"just the horrendous side
of humanity.

1556
01:19:55,582 --> 01:19:57,300
You know, that's awful bleak."

1557
01:19:57,301 --> 01:19:58,501
And Kubrick said,

1558
01:19:58,502 --> 01:20:02,219
"Ah, but there's something
very positive about it as well.

1559
01:20:02,220 --> 01:20:04,716
"And that is,
it shows at the very least

1560
01:20:04,717 --> 01:20:07,764
that we can get our minds
around what that horror is."

1561
01:20:07,765 --> 01:20:09,432
And Danny,
from the beginning,

1562
01:20:09,433 --> 01:20:10,894
has his mind
all over the problem.

1563
01:20:10,895 --> 01:20:12,103
He's looking at it.

1564
01:20:12,104 --> 01:20:15,065
In a way, Danny's
big wheeling back and forth,

1565
01:20:15,066 --> 01:20:16,230
up and down the hallways...

1566
01:20:16,231 --> 01:20:18,062
Danny is learning that hotel.

1567
01:20:18,063 --> 01:20:19,063
He's learning all the horrors.

1568
01:20:19,064 --> 01:20:20,064
He's seeing them.

1569
01:20:20,065 --> 01:20:21,357
But they're just in the past,

1570
01:20:21,358 --> 01:20:22,734
and Hallorann
gave him the secret.

1571
01:20:22,735 --> 01:20:24,449
He said, "Remember, Danny."

1572
01:20:24,450 --> 01:20:26,279
Remember what Tony tells him.

1573
01:20:26,280 --> 01:20:27,530
Remember
what Mr. Hallorann said:

1574
01:20:27,531 --> 01:20:29,078
"They're just like
pictures in a book.

1575
01:20:29,079 --> 01:20:31,034
They're not real."

1576
01:20:31,035 --> 01:20:34,912
Now, that's
a really important lesson.

1577
01:20:34,913 --> 01:20:37,290
People who shine,
who see through history,

1578
01:20:37,291 --> 01:20:41,794
understand that the past
simply does not exist

1579
01:20:41,795 --> 01:20:43,046
except in one place.

1580
01:20:43,047 --> 01:20:44,970
And that's the present tense
instant of the mind,

1581
01:20:44,971 --> 01:20:46,007
remembering.

1582
01:20:46,008 --> 01:20:49,763
That is, exactly... that is
a place you can go to somehow

1583
01:20:49,764 --> 01:20:51,679
and yet it doesn't exist.

1584
01:20:51,680 --> 01:20:54,891
And so Hallorann tells Danny,

1585
01:20:54,892 --> 01:20:56,144
"You're gonna see
some horrible things."

1586
01:20:56,145 --> 01:20:57,143
Apparently, he told him.

1587
01:20:57,144 --> 01:20:58,394
"You're gonna see
some horrible things,

1588
01:20:58,395 --> 01:20:59,565
"but remember,
they're not real.

1589
01:20:59,566 --> 01:21:00,780
"They're like
pictures in a book.

1590
01:21:00,781 --> 01:21:02,899
They no longer exist."

1591
01:21:02,900 --> 01:21:06,029
That's a key to not
getting depressed about it.

1592
01:21:06,030 --> 01:21:11,282
And that's...

1593
01:21:11,283 --> 01:21:15,328
You see, this is a movie
about what the past...

1594
01:21:15,329 --> 01:21:18,873
how the past impinges,
any past,

1595
01:21:18,874 --> 01:21:20,875
and about
how to get over that

1596
01:21:20,876 --> 01:21:22,844
and how not to be
a victim of history.

1597
01:21:25,047 --> 01:21:27,300
You know, if you doubt
what I've written about it,

1598
01:21:27,301 --> 01:21:28,800
just go see the movie.

1599
01:21:28,801 --> 01:21:30,678
I've figured all this out
from just seeing the movie.

1600
01:21:30,679 --> 01:21:31,969
It's there.

1601
01:21:31,970 --> 01:21:33,811
It's obvious, and most people
who went and saw the movie said,

1602
01:21:33,812 --> 01:21:35,023
"Oh, my goodness.
It <i>is there."</i>

1603
01:21:41,397 --> 01:21:43,856
- Okay.

1604
01:21:43,857 --> 01:21:47,151
Yeah, I was, I mean, obsessed
with <i>The Shining</i>

1605
01:21:47,152 --> 01:21:52,824
and reading all
the online analyses of it

1606
01:21:52,825 --> 01:21:55,451
and was particularly
a big fan

1607
01:21:55,452 --> 01:22:00,128
of the MSTRMND's lengthy
analysis of it.

1608
01:22:01,375 --> 01:22:05,211
And he had one phrase
that kind of stuck in my mind,

1609
01:22:05,212 --> 01:22:08,297
that <i>The Shining was a film</i>

1610
01:22:08,298 --> 01:22:11,677
meant to be seen
forwards and backwards.

1611
01:22:12,928 --> 01:22:16,681
And, I mean,
he didn't mean at the same time.

1612
01:22:16,682 --> 01:22:22,812
He meant that in,
with the mirror form metaphor

1613
01:22:22,813 --> 01:22:27,358
that's central to the film

1614
01:22:27,359 --> 01:22:30,778
that things, you know...

1615
01:22:30,779 --> 01:22:32,700
that things
forwards and backwards

1616
01:22:32,701 --> 01:22:34,166
happen throughout the film.

1617
01:22:34,167 --> 01:22:39,162
That... people walk backwards
in the film, you know,

1618
01:22:39,163 --> 01:22:40,210
people talk backwards.

1619
01:22:40,211 --> 01:22:43,040
- Redrum.
Redrum.

1620
01:22:43,041 --> 01:22:45,668
- You know,
if you reverse the film,

1621
01:22:45,669 --> 01:22:49,797
it has a format similar to 2001.

1622
01:22:49,798 --> 01:22:51,766
All these kind of things happen.

1623
01:22:51,767 --> 01:22:53,718
At the end of The Shining,

1624
01:22:53,719 --> 01:22:55,558
he's reduced to a screaming ape,

1625
01:22:55,559 --> 01:22:57,143
just like in the beginning
of <i>2001,</i>

1626
01:22:57,144 --> 01:22:58,231
there are screaming apes.

1627
01:23:03,312 --> 01:23:07,982
But I was talking to my pals
at the Spectacle Theater,

1628
01:23:07,983 --> 01:23:12,487
riffing about experimental ways
of showing films.

1629
01:23:12,488 --> 01:23:14,206
And they were like,
"Well, do you think

1630
01:23:14,207 --> 01:23:16,908
"you could
come up with something,

1631
01:23:16,909 --> 01:23:18,411
you know, to show here?"

1632
01:23:18,412 --> 01:23:22,083
I was like, "Sure, what we
should do is we should show

1633
01:23:22,084 --> 01:23:24,752
<i>The Shining forwards
and backwards at the same time.</i>

1634
01:23:24,753 --> 01:23:27,253
"You know not...
let's not be creative.

1635
01:23:27,254 --> 01:23:29,921
"Let's just actually
reverse the film

1636
01:23:29,922 --> 01:23:34,018
and show it exactly mirrored,
superimposed."

1637
01:23:38,722 --> 01:23:42,101
The first image
is of the reflective lake.

1638
01:23:45,312 --> 01:23:48,648
And the last image
is of the inscription

1639
01:23:48,649 --> 01:23:49,862
on the photograph,

1640
01:23:49,863 --> 01:23:52,452
in which Jack is frozen
for all time...

1641
01:23:52,453 --> 01:23:56,197
The "Overlook Hotel,
July 4th Ball, 1921."

1642
01:23:56,198 --> 01:23:59,283
So those superimposed make it...

1643
01:23:59,284 --> 01:24:02,288
kind of make it seem like
a postcard, like an invitation.

1644
01:24:02,289 --> 01:24:03,287
Like...

1645
01:24:04,414 --> 01:24:08,417
"Come to the July 4th Ball
here in Crater Lake."

1646
01:24:08,418 --> 01:24:12,505
There's a really cool part
where, like, you know,

1647
01:24:12,506 --> 01:24:16,217
the helicopters
are following his car

1648
01:24:16,218 --> 01:24:20,638
and his name scrolls up
in the credits

1649
01:24:20,639 --> 01:24:24,809
and, like, meets the car,
right...

1650
01:24:24,810 --> 01:24:29,313
right in the same position
where the grid of photographs,

1651
01:24:29,314 --> 01:24:32,154
right in that photograph
that he's trapped in.

1652
01:24:32,155 --> 01:24:34,824
So his car,
his name and his photograph

1653
01:24:34,825 --> 01:24:37,446
all line up for one second.

1654
01:24:37,447 --> 01:24:38,447
Pretty cool.

1655
01:24:40,158 --> 01:24:43,494
The interview has a, like...
it's great.

1656
01:24:43,495 --> 01:24:45,166
While they're talking about...

1657
01:24:45,167 --> 01:24:47,790
you know, very dryly about
all the murders that happened,

1658
01:24:47,791 --> 01:24:49,755
like, you know,
in the superimposition,

1659
01:24:49,756 --> 01:24:52,595
Jack's running around with an
axe going bananas, you know.

1660
01:24:55,882 --> 01:25:00,428
There's a lot of just great,
great, great superimpositions

1661
01:25:00,429 --> 01:25:04,307
of people's faces lining up,
like Jack's...

1662
01:25:04,308 --> 01:25:08,019
Jack's, like,
got the death look,

1663
01:25:08,020 --> 01:25:09,567
and he's staring
through Danny's face

1664
01:25:09,568 --> 01:25:12,362
as Danny's eating a sandwich.

1665
01:25:13,859 --> 01:25:16,902
Then there's a lot of things...
there's a lot of, like...

1666
01:25:16,903 --> 01:25:18,654
there's a... you know,
there's some fun jokes,

1667
01:25:18,655 --> 01:25:20,373
but then there's
serious stuff where,

1668
01:25:20,374 --> 01:25:22,241
like, you...

1669
01:25:22,242 --> 01:25:26,495
where the hallucination...
the visions that Danny has,

1670
01:25:26,496 --> 01:25:28,122
where you'll see them,

1671
01:25:28,123 --> 01:25:30,376
like, overlaid
on top of other situations.

1672
01:25:30,377 --> 01:25:33,379
Like the twin girls
are overlaid on top of Wendy,

1673
01:25:33,380 --> 01:25:35,504
which, if you study the film,

1674
01:25:35,505 --> 01:25:38,554
you see that the twins
are associated with Wendy.

1675
01:25:38,555 --> 01:25:42,219
They're like her,
like, visionary counterpart.

1676
01:25:42,220 --> 01:25:45,556
All the symbols
in the movie start...

1677
01:25:45,557 --> 01:25:48,142
overlap
in the superimposition,

1678
01:25:48,143 --> 01:25:50,771
backwards/forwards
superimposition.

1679
01:25:52,397 --> 01:25:56,484
The murdered twins
are overlaid across Jack's face,

1680
01:25:56,485 --> 01:25:58,611
and he looks like a clown.

1681
01:25:58,612 --> 01:26:00,488
It makes like a clown mask,

1682
01:26:00,489 --> 01:26:01,991
and there's blood everywhere

1683
01:26:01,992 --> 01:26:03,741
and, like, blood on his lips.

1684
01:26:04,951 --> 01:26:07,745
And blood
coming out of his eyes.

1685
01:26:07,746 --> 01:26:11,999
And, like, you know,
Danny takes it...

1686
01:26:12,000 --> 01:26:13,547
you know, like, Danny
has his hands over his face,

1687
01:26:13,548 --> 01:26:17,463
and it's... Jack is looking out
from his head,

1688
01:26:17,464 --> 01:26:22,343
and then he open... he, like,
peeks out and he sees Grady.

1689
01:26:22,344 --> 01:26:26,764
And then Grady and Jack
continue their conversation

1690
01:26:26,765 --> 01:26:27,982
into the next scene,

1691
01:26:27,983 --> 01:26:31,686
which is where
he's watching television.

1692
01:26:31,687 --> 01:26:33,781
And it's like they have this...

1693
01:26:33,782 --> 01:26:36,273
their lips
are, like, in the TV.

1694
01:26:36,274 --> 01:26:38,743
Jack and Grady's lips
are in the TV.

1695
01:26:38,744 --> 01:26:42,988
And these masks
are formed by the windows.

1696
01:26:42,989 --> 01:26:46,283
And ifs like
Danny's envisioning this.

1697
01:26:46,284 --> 01:26:49,954
Danny's envisioning...

1698
01:26:49,955 --> 01:26:54,291
you know, envisioning the pact
between Grady and jack.

1699
01:26:54,292 --> 01:27:00,840
Like, he goes into...
he sneaks into the bedroom,

1700
01:27:00,841 --> 01:27:02,388
like, right through
Jack's head,

1701
01:27:02,389 --> 01:27:05,094
right in between them.

1702
01:27:05,095 --> 01:27:10,141
And just like that scene is...

1703
01:27:10,142 --> 01:27:13,519
that's the scene
where Danny is testing

1704
01:27:13,520 --> 01:27:16,364
his father, like,
"Do you really, you know!"...

1705
01:27:16,365 --> 01:27:18,357
"Do you like this place?

1706
01:27:18,358 --> 01:27:19,780
You're not gonna hurt us,
are you?"

1707
01:27:19,781 --> 01:27:22,996
Like, Danny kind of knows
that his dad has lost it.

1708
01:27:29,202 --> 01:27:31,203
The last shot is 1921,

1709
01:27:31,204 --> 01:27:36,792
and the first shot
is of the road.

1710
01:27:36,793 --> 01:27:39,467
Ullman mentions
that it was finished in 1921.

1711
01:27:39,468 --> 01:27:43,716
So it's, again, it's a way
of returning the narrative

1712
01:27:43,717 --> 01:27:45,310
back to the beginning.

1713
01:27:59,566 --> 01:28:02,786
- Mr. Hallorann,
what is in room 237?

1714
01:28:04,738 --> 01:28:06,280
- Nothing.

1715
01:28:06,281 --> 01:28:09,909
There ain't nothing in room 237.

1716
01:28:09,910 --> 01:28:13,255
But you ain't got no business
going in there anyway,

1717
01:28:13,256 --> 01:28:14,998
so stay out.

1718
01:28:15,999 --> 01:28:17,750
- In the sex room, 237,

1719
01:28:17,751 --> 01:28:20,630
where we see this beautiful,
sexual temptress,

1720
01:28:20,631 --> 01:28:24,548
who then becomes
a rotting body...

1721
01:28:24,549 --> 01:28:26,768
realistically depicted
as a rotting body...

1722
01:28:26,769 --> 01:28:30,930
the design on the rug shows
basically the most...

1723
01:28:30,931 --> 01:28:33,400
in geometric form
with round curves...

1724
01:28:33,401 --> 01:28:36,143
the act of intercourse itself,

1725
01:28:36,144 --> 01:28:37,612
one after another
after another after another,

1726
01:28:37,613 --> 01:28:38,729
sort of like a picture

1727
01:28:38,730 --> 01:28:42,608
of down through the generations
of what produces life.

1728
01:28:42,609 --> 01:28:46,239
You go back out in the hallway,
in the larger society,

1729
01:28:46,240 --> 01:28:48,366
and the round curves
of that very same design

1730
01:28:48,367 --> 01:28:50,658
have become hexagons,

1731
01:28:50,659 --> 01:28:52,878
not so nice and round,
and a little bit more

1732
01:28:52,879 --> 01:28:54,912
like the beehive hexagon

1733
01:28:54,913 --> 01:28:57,209
but down the whole corridors
of history.

1734
01:28:57,210 --> 01:28:58,925
I think he's got
an image of it there,

1735
01:28:58,926 --> 01:29:02,002
so he's talking about
the family of man,

1736
01:29:02,003 --> 01:29:03,926
both in
an individual nuclear family

1737
01:29:03,927 --> 01:29:07,301
and in the whole course
of our genetic history.

1738
01:29:10,428 --> 01:29:15,766
- Once Denny enters room 237,
like, that's...

1739
01:29:15,767 --> 01:29:17,314
that kind of is, like,
the activation

1740
01:29:17,315 --> 01:29:20,729
of the rest of the movie.

1741
01:29:20,730 --> 01:29:27,069
Like, that's what causes Jack
to go insane finally.

1742
01:29:27,070 --> 01:29:32,042
That's what brings Hallorann
to the hotel.

1743
01:29:34,786 --> 01:29:39,963
Like, the room 237 is, like,
is sort of this...

1744
01:29:41,251 --> 01:29:45,838
I mean, I compare it
to the mysterious hotel room

1745
01:29:45,839 --> 01:29:48,007
at the end of 2001,

1746
01:29:48,008 --> 01:29:49,305
where there's...

1747
01:29:50,635 --> 01:29:53,971
It's this strange,
strange place

1748
01:29:53,972 --> 01:29:58,148
that somehow, like, transforms
the rest of the narrative.

1749
01:30:17,120 --> 01:30:19,794
<i>The Shining takes place
on the top of</i> a <i>mountain</i>

1750
01:30:19,795 --> 01:30:22,291
in kind of like a, you know,

1751
01:30:22,292 --> 01:30:26,045
magical shape-shifting
environment.

1752
01:30:26,046 --> 01:30:29,632
And, like, travel is...

1753
01:30:29,633 --> 01:30:30,805
traveling out of it is...

1754
01:30:32,177 --> 01:30:35,681
<i>You</i> know, <i>instead</i> of <i>2001, where
you're traveling to something,</i>

1755
01:30:35,682 --> 01:30:40,356
<i>the point of The Shining
is to escape, is to travel out.</i>

1756
01:30:41,394 --> 01:30:44,063
And room 237 is, like...

1757
01:30:44,064 --> 01:30:50,569
it's kind of like
the escape pod of...

1758
01:30:50,570 --> 01:30:52,823
of the hotel.

1759
01:31:01,289 --> 01:31:06,251
- If you multiply the numbers 2,
3 and 7, you get 42.

1760
01:31:06,252 --> 01:31:09,347
Now, I admit, perhaps
I'm grasping at straws there,

1761
01:31:09,348 --> 01:31:13,050
but it is consistent
with the pattern of reference

1762
01:31:13,051 --> 01:31:14,551
in the film.

1763
01:31:14,552 --> 01:31:16,975
- Another thing which
my film <i>Kubrick's Odyssey</i>

1764
01:31:16,976 --> 01:31:19,473
really reveals

1765
01:31:19,474 --> 01:31:21,438
is the carpeting on the floor

1766
01:31:21,439 --> 01:31:23,060
during the famous Danny scene,

1767
01:31:23,061 --> 01:31:27,231
where he stands up
with his Apollo 11 shirt.

1768
01:31:27,232 --> 01:31:34,321
The patterns in the carpeting
exactly match launch pad 39-A.

1769
01:31:34,322 --> 01:31:36,996
You know, even the driveway
and everything.

1770
01:31:36,997 --> 01:31:42,746
And if you notice in that shot,
the pattern on the rug changes

1771
01:31:42,747 --> 01:31:44,841
when Danny stands up.

1772
01:31:46,334 --> 01:31:48,836
- The carpet's reversed,

1773
01:31:48,837 --> 01:31:51,133
and there's
no pathway there anymore.

1774
01:31:51,134 --> 01:31:54,761
The pathway that the ball took
rolling down towards Danny

1775
01:31:54,762 --> 01:31:56,593
is gone now.

1776
01:31:56,594 --> 01:31:58,434
It's no longer there
'cause it's reversed.

1777
01:31:58,435 --> 01:32:00,558
And you get
a sense of a closure.

1778
01:32:00,559 --> 01:32:02,309
Now the hexagon is closed.

1779
01:32:02,310 --> 01:32:04,606
It's almost like
he's been closed in.

1780
01:32:18,992 --> 01:32:20,710
- Seven years after
The Shining had <i>come</i> out,

1781
01:32:20,711 --> 01:32:22,830
to my surprise,
nobody had written,

1782
01:32:22,831 --> 01:32:24,293
as far as I could tell,

1783
01:32:24,294 --> 01:32:26,633
about what the major themes
of the movie were,

1784
01:32:26,634 --> 01:32:30,627
beyond the delightfully scary
immediate story

1785
01:32:30,628 --> 01:32:33,797
of the family
and the hotel itself.

1786
01:32:33,798 --> 01:32:38,052
And I was actually doing a story
somewhere over in Europe,

1787
01:32:38,053 --> 01:32:41,057
and I was told over the phone
that the posters were out

1788
01:32:41,058 --> 01:32:42,353
<i>for Full Metal Jacket.</i>

1789
01:32:42,354 --> 01:32:45,142
I asked about the description,

1790
01:32:45,143 --> 01:32:48,647
and I was told it had a peace
sign right next to the words

1791
01:32:48,648 --> 01:32:49,646
"Born to kill."

1792
01:32:49,647 --> 01:32:50,898
And I said,
"Oh, my goodness.

1793
01:32:50,899 --> 01:32:53,320
His next movie's gonna be
about some of the same themes."

1794
01:32:53,321 --> 01:32:54,911
Anyway,
I thought, "My goodness."

1795
01:32:54,912 --> 01:32:58,989
I had presumed that
it would have become obvious,

1796
01:32:58,990 --> 01:33:00,082
so I thought,
"What the heck?

1797
01:33:00,083 --> 01:33:03,994
"I'll just see if I can write
an article about it

1798
01:33:03,995 --> 01:33:06,497
to give people more fun
when they see Full Metal Jacket,

1799
01:33:06,498 --> 01:33:07,750
to know what
his last movie was about,

1800
01:33:07,751 --> 01:33:09,046
in larger senses.

1801
01:33:14,047 --> 01:33:18,675
- I've gotten a lot of flak
from people who work for NASA.

1802
01:33:18,676 --> 01:33:21,473
And, you know, I want to tell
them, that I, you know,

1803
01:33:21,474 --> 01:33:23,889
I'm not saying
that we didn't go to the moon.

1804
01:33:23,890 --> 01:33:25,516
And I'm not saying
that their technology

1805
01:33:25,517 --> 01:33:26,856
that they helped build

1806
01:33:26,857 --> 01:33:29,478
isn't great and awesome
and everything.

1807
01:33:29,479 --> 01:33:31,355
I'm just saying
that what we saw was faked.

1808
01:33:31,356 --> 01:33:33,607
And I know I have it proved

1809
01:33:33,608 --> 01:33:36,527
with the front-screen
projection process.

1810
01:33:36,528 --> 01:33:39,488
As far as what
the government has done,

1811
01:33:39,489 --> 01:33:42,661
I fully expect my taxes
to be audited next year,

1812
01:33:42,662 --> 01:33:43,956
to be honest with you.

1813
01:33:43,957 --> 01:33:49,164
And, you know,
I've had visitations, you know.

1814
01:33:49,165 --> 01:33:52,005
And they're definitely
watching me for sure,

1815
01:33:52,006 --> 01:33:54,711
and they're not too happy
with what's going on here.

1816
01:33:54,712 --> 01:33:56,009
And I think
they're probably very worried

1817
01:33:56,010 --> 01:33:58,048
about the next film.

1818
01:33:58,049 --> 01:34:01,428
And that one will be
the really explosive film.

1819
01:34:06,975 --> 01:34:09,319
- We were walking
along the beach on vacation

1820
01:34:09,320 --> 01:34:12,479
with some people
in Costa Rica.

1821
01:34:13,690 --> 01:34:14,782
I had
this delightful experience.

1822
01:34:14,783 --> 01:34:16,570
We were walking along
with a young couple

1823
01:34:16,571 --> 01:34:18,286
who were from San Francisco.

1824
01:34:18,287 --> 01:34:19,903
And it was a long walk.

1825
01:34:19,904 --> 01:34:22,908
We'd gone through
this big, beautiful jungle.

1826
01:34:22,909 --> 01:34:24,496
And were coming
back on the beach

1827
01:34:24,497 --> 01:34:26,163
to walk back
to where the tent camp was.

1828
01:34:26,164 --> 01:34:27,244
And the guy started...

1829
01:34:27,245 --> 01:34:28,370
we started chatting
about Kubrick.

1830
01:34:28,371 --> 01:34:29,463
I said, "Oh, Kubrick's great,"

1831
01:34:29,464 --> 01:34:30,747
And the guy said, "You know,

1832
01:34:30,748 --> 01:34:32,546
<i>The Shining, it's actually
about the American Indians. "</i>

1833
01:34:32,547 --> 01:34:33,589
I said, "Really?"

1834
01:34:33,590 --> 01:34:37,087
And he went on talking,
and I said, "Really?"

1835
01:34:37,088 --> 01:34:39,928
And I just couldn't resist
just playing dumb for while

1836
01:34:39,929 --> 01:34:41,847
while he told me
the whole thing.

1837
01:34:42,844 --> 01:34:44,016
I was delighted!

1838
01:34:46,764 --> 01:34:53,103
♪ Dies irae, dies illa ♪

1839
01:34:53,104 --> 01:34:54,947
- Kubrick just sets up
synchronous space.

1840
01:34:54,948 --> 01:34:57,232
His movies are...

1841
01:34:57,233 --> 01:34:59,985
they create synchronous
situations in themselves.

1842
01:34:59,986 --> 01:35:01,283
There's this man who says,
you know,

1843
01:35:01,284 --> 01:35:02,905
"Quite a party, isn't it?"

1844
01:35:02,906 --> 01:35:04,827
Why did Kubrick put him there,

1845
01:35:04,828 --> 01:35:06,747
with the split down his head?

1846
01:35:06,748 --> 01:35:08,493
Why did he put him there?

1847
01:35:08,494 --> 01:35:10,462
And I was contemplating that.

1848
01:35:10,463 --> 01:35:13,916
And in comes my son.

1849
01:35:13,917 --> 01:35:16,257
And he was nine years old
at the time.

1850
01:35:16,258 --> 01:35:17,966
And he didn't know
what I was working on.

1851
01:35:17,967 --> 01:35:20,966
And he came in,
and he began to tell me a story.

1852
01:35:20,967 --> 01:35:23,263
And he said,
"I've just thought this up."

1853
01:35:23,264 --> 01:35:27,512
And his characters head was
split open with a chaos bolt.

1854
01:35:27,513 --> 01:35:31,393
And the character says, "Talk
about a splitting headache."

1855
01:35:31,394 --> 01:35:33,611
And out of the contents
of his head

1856
01:35:33,612 --> 01:35:37,189
leaps a small person
who is his real self.

1857
01:35:37,190 --> 01:35:39,659
And it goes running off,
saying in a high, squeaky voice,

1858
01:35:39,660 --> 01:35:41,902
"Forget this.
I'm going home."

1859
01:35:41,903 --> 01:35:45,451
And, yeah, I thought that was
really stunning synchronicity,

1860
01:35:45,452 --> 01:35:47,997
I mean, 'cause you've got
all the elements there.

1861
01:35:47,998 --> 01:35:49,243
You've got the ax.

1862
01:35:49,244 --> 01:35:50,917
You've got the whole idea
of the lightning bolt,

1863
01:35:50,918 --> 01:35:52,876
the chaos bolt,
striking the person's head,

1864
01:35:52,877 --> 01:35:54,248
the splitting headache.

1865
01:35:54,249 --> 01:35:55,832
You've got Tony...

1866
01:35:55,833 --> 01:35:57,335
Tony's squeaky voice, yeah.

1867
01:35:58,878 --> 01:36:00,968
I thought that was
quite a synchronicity.

1868
01:36:00,969 --> 01:36:02,637
- One can always argue
that Kubrick

1869
01:36:02,638 --> 01:36:06,551
had only some or even none
of these in mind.

1870
01:36:06,552 --> 01:36:09,522
But we all know
from postmodern film criticism

1871
01:36:09,523 --> 01:36:13,058
that author intent
is only part of the story

1872
01:36:13,059 --> 01:36:14,977
of any work of art.

1873
01:36:14,978 --> 01:36:18,897
And those meanings
are there regardless

1874
01:36:18,898 --> 01:36:22,484
of whether the creator
of the work

1875
01:36:22,485 --> 01:36:24,027
was conscious of them.

1876
01:36:24,028 --> 01:36:26,029
- I think... if you want
to know what I think,

1877
01:36:26,030 --> 01:36:28,451
I think the hotel
is so whacked out

1878
01:36:28,452 --> 01:36:30,701
that I don't have any clue
what's going on

1879
01:36:30,702 --> 01:36:32,202
from the beginning.

1880
01:36:32,203 --> 01:36:34,456
When you really sit
and think about it, I mean...

1881
01:36:34,457 --> 01:36:36,549
because the whole thing
is so whacked out,

1882
01:36:36,550 --> 01:36:38,709
and it's so not put together...

1883
01:36:38,710 --> 01:36:42,045
it's so... everything
is so wildly out of place

1884
01:36:42,046 --> 01:36:44,843
that when you...
the more... the closer you get

1885
01:36:44,844 --> 01:36:48,013
into looking at things,
the more you look at them.

1886
01:36:48,014 --> 01:36:51,606
It's kind of like, you know,
the scene in <i>Eyes Wide Shut</i>

1887
01:36:51,607 --> 01:36:55,058
where Bill goes... you know,
he returns.

1888
01:36:55,059 --> 01:36:56,893
He retraces his footsteps,

1889
01:36:56,894 --> 01:37:00,814
and he goes back
to the mansion where he was.

1890
01:37:00,815 --> 01:37:03,442
And he's told, you know,
to stop your inquiries.

1891
01:37:03,443 --> 01:37:05,032
They will serve you no purpose.

1892
01:37:05,033 --> 01:37:07,906
It's almost like it gets to that
with The Shining.

1893
01:37:07,907 --> 01:37:10,784
The more you magnify things,
the more you look at them,

1894
01:37:10,785 --> 01:37:14,581
the less purpose it serves
'cause it's so out of whack.

1895
01:37:14,582 --> 01:37:17,247
None of it makes sense
from the beginning.

1896
01:37:17,248 --> 01:37:18,716
- There must be
a lot of stuff in there

1897
01:37:18,717 --> 01:37:21,126
that nobody has yet seen,

1898
01:37:21,127 --> 01:37:23,425
so people
ought to keep watching it.

1899
01:37:29,093 --> 01:37:32,888
- But why would he make
the movie so complicated?

1900
01:37:32,889 --> 01:37:38,894
- Yeah, I mean, but why did
Joyce write <i>Finnegan's Wake?</i>

1901
01:37:40,605 --> 01:37:43,440
It's a way of, like,
opening doors

1902
01:37:43,441 --> 01:37:45,614
from, like, a hermetically
sealed reality

1903
01:37:45,615 --> 01:37:49,821
into possibilities.

1904
01:37:49,822 --> 01:37:52,541
And it's also a way of trapping
someone like me.

1905
01:37:54,702 --> 01:37:59,581
Like, who goes looking for clues
and, like, keeps finding them.

1906
01:37:59,582 --> 01:38:02,798
And next thing you know,
you're like, "Man, I've been...

1907
01:38:02,799 --> 01:38:04,967
"I've been trapped
in this hotel forever.

1908
01:38:04,968 --> 01:38:08,173
I'm dreaming about this place."

1909
01:38:08,174 --> 01:38:09,299
You know, I'm like Jack.

1910
01:38:09,300 --> 01:38:11,473
I'm, like,
all work and no play.

1911
01:38:13,429 --> 01:38:14,474
Or the other way around.

1912
01:38:14,475 --> 01:38:16,019
It doesn't really matter,
like...

1913
01:38:17,975 --> 01:38:19,568
You're, like, in this loop.

1914
01:38:23,481 --> 01:38:26,485
But, you know, there are
escape routes, like the...

1915
01:38:26,486 --> 01:38:29,027
like, I think
he puts escape routes

1916
01:38:29,028 --> 01:38:33,532
into it, into this maze,
into this trap.

1917
01:38:33,533 --> 01:38:35,706
I mean,
there are ways out of it.

1918
01:38:35,707 --> 01:38:38,829
And Danny finds a way out of it,

1919
01:38:38,830 --> 01:38:41,206
you know,
by retracing his steps,

1920
01:38:41,207 --> 01:38:43,084
by going backwards and forwards.

1921
01:38:44,669 --> 01:38:48,048
And once you start, you know,
studying, you know,

1922
01:38:48,049 --> 01:38:51,091
synchronicity and symbolism,

1923
01:38:51,092 --> 01:38:52,180
then, like, suddenly, like,

1924
01:38:52,181 --> 01:38:54,015
you're noticing
in your own life,

1925
01:38:54,016 --> 01:38:56,105
like, things start popping out.

1926
01:38:57,515 --> 01:39:01,852
Things that you hadn't noticed
before, you know, like your...

1927
01:39:01,853 --> 01:39:05,858
point of view is being altered
by your study.

1928
01:39:07,442 --> 01:39:12,654
And, you know, it's the...

1929
01:39:12,655 --> 01:39:14,453
It's quantum physics,
you know, like,

1930
01:39:14,454 --> 01:39:17,868
the act of observing,
like, affects

1931
01:39:17,869 --> 01:39:20,713
you know,
the thing observed.

1932
01:39:22,540 --> 01:39:24,249
- Hi, Lloyd.

1933
01:39:24,250 --> 01:39:25,625
- Yeah.

1934
01:39:25,626 --> 01:39:29,051
Yeah, I mean, it gets weird
because, like, I'd... you know,

1935
01:39:29,052 --> 01:39:33,675
as I've been obsessing over this
thing, you know, I've been home,

1936
01:39:33,676 --> 01:39:37,053
like, I'd been out of work
for a while, like...

1937
01:39:37,054 --> 01:39:39,148
I have a small son.

1938
01:39:40,475 --> 01:39:43,522
You know, we're thinking
of moving out to, like,

1939
01:39:43,523 --> 01:39:44,816
somewhere isolated.

1940
01:39:44,817 --> 01:39:47,564
I mean, things get strange,
you know?

1941
01:39:47,565 --> 01:39:49,399
Like, you're...

1942
01:39:49,400 --> 01:39:52,110
like, wow,
my life has actually become

1943
01:39:52,111 --> 01:39:53,236
<i>The Shining, you know?</i>

1944
01:40:29,398 --> 01:40:31,742
♪ Dies irae ♪

1945
01:40:31,743 --> 01:40:36,238
<i>♪ Dies illa ♪</i>

1946
01:40:36,239 --> 01:40:45,747
<i>♪ Solvet saeclum in favilla ♪</i>

1947
01:40:45,748 --> 01:40:54,589
<i>♪ Teste David cum sibylla ♪</i>

1948
01:42:03,242 --> 01:42:05,410
<i>♪ Dies irae ♪</i>

1949
01:42:05,411 --> 01:42:09,998
<i>♪ Dies illa ♪</i>

1950
01:42:09,999 --> 01:42:19,132
<i>♪ Solvet saeclum in favilla ♪</i>

1951
01:42:19,133 --> 01:42:28,308
<i>♪ Teste David cum sibylla ♪</i>

1952
01:42:28,309 --> 01:42:30,477
<i>♪ Dies irae ♪</i>

1953
01:42:30,478 --> 01:42:35,065
<i>♪ Dies illa ♪</i>

1954
01:42:35,066 --> 01:42:44,240
<i>♪ Solvet saeclum in favilla ♪</i>

1955
01:42:44,241 --> 01:42:53,218
<i>♪ Teste David cum sibylla ♪</i>

1955
01:42:54,305 --> 01:43:00,267
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