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Room.237.2012.720p.BluRay.x264.YIFY
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- The poster
that came out in Europe,
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at least in England,
I believe,
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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.
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Now,
it made you do a double take.
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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.
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And I remember looking at it.
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It said, "The wave of terror
that swept across America."
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What's he talking about?
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And you'd sort of think
that he was talking about
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the impact
of the book The Shining.
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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.
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It didn't quite fit.
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00:01:49,860 --> 00:01:51,658
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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00:02:00,787 --> 00:02:02,288
among many other good things
as well.
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00:02:02,289 --> 00:02:04,542
But that was the wave of terror
that swept across America,
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00:02:04,543 --> 00:02:08,216
terrifying, of course,
the American Indians.
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00:02:31,234 --> 00:02:34,281
- I went in to see this movie in
Leicester Square Movie Theater,
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00:02:34,282 --> 00:02:36,619
right near
Leicester Square in London.
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00:02:36,620 --> 00:02:38,454
And I remember it
quite clearly from...
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00:02:38,455 --> 00:02:40,496
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.
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00:02:53,256 --> 00:02:54,882
I had no idea what was coming.
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00:02:54,883 --> 00:02:56,726
I remember sort of sitting
on the front edge
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00:02:56,727 --> 00:03:01,263
of my theater seat there
to keep from falling off.
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00:03:01,264 --> 00:03:05,144
And I remember gripping my
belt buckle with my left hand,
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00:03:05,145 --> 00:03:06,435
I think it was...
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00:03:06,436 --> 00:03:09,440
yes, my left hand,
sort of to keep from falling off
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00:03:09,441 --> 00:03:14,443
the edge of the seat
and to try to control my terror
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00:03:14,444 --> 00:03:15,739
as I watched this movie.
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00:03:15,740 --> 00:03:17,113
I had no idea what was coming.
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00:03:17,114 --> 00:03:18,327
I hadn't read the book.
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00:03:18,328 --> 00:03:20,746
I had barely seen
any of the posters.
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00:03:20,747 --> 00:03:25,871
And I remember that I was
stunned when the movie was over.
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We left the theater, went in...
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00:03:28,625 --> 00:03:30,468
down into
our underground car park
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00:03:30,469 --> 00:03:34,004
to get into the car to leave.
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00:03:34,005 --> 00:03:36,804
And as we were driving up
out of the car park,
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00:03:36,805 --> 00:03:39,468
I was sitting
in the back left seat.
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00:03:39,469 --> 00:03:41,554
I was thinking, "What was that?
What was that?
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00:03:41,555 --> 00:03:42,555
"What was it?
What was it?
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00:03:42,556 --> 00:03:43,597
What was it?"
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00:03:43,598 --> 00:03:47,435
And I think
my visual imagination
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looked at that
Calumet baking powder can,
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the one right behind
Hallorann's head
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00:03:50,652 --> 00:03:52,898
when he was talking to Danny.
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00:03:52,899 --> 00:03:54,196
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.
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00:04:01,158 --> 00:04:02,450
"Oh, my goodness,
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00:04:02,451 --> 00:04:04,499
they're all over the place
in that movie."
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00:04:11,209 --> 00:04:13,928
- The loser
has to keep America clean.
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00:04:19,092 --> 00:04:21,635
- And I suddenly
said to my friends,
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"That movie
was about the genocide
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00:04:23,101 --> 00:04:24,560
of the American Indians."
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00:04:24,561 --> 00:04:26,727
And they said,
"What are you talking about?"
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00:04:26,728 --> 00:04:28,064
And I started explaining it,
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00:04:28,065 --> 00:04:30,811
because I'd noticed
the Calumet baking soda can.
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00:04:30,812 --> 00:04:32,860
In the first... the first time
we seen one,
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00:04:32,861 --> 00:04:36,108
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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00:04:37,986 --> 00:04:40,196
so there's no duplicity,
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00:04:40,197 --> 00:04:41,915
like the little girls
represent later.
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00:04:41,916 --> 00:04:43,824
This is an honest truth,
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00:04:43,825 --> 00:04:45,910
an honest peace pipe
between them.
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The other time we see
the Calumet baking powder cans
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00:04:47,630 --> 00:04:49,874
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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00:04:58,381 --> 00:05:00,634
- No need to rub it in,
Mr. Grady.
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00:05:02,260 --> 00:05:06,058
I'll deal with that situation
as soon as I get out of here.
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00:05:06,059 --> 00:05:08,808
- There's about six
or seven of them stacked up,
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00:05:08,809 --> 00:05:10,398
and they're
all turned different ways,
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00:05:10,399 --> 00:05:12,564
and you can't read
any one of them completely.
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00:05:12,565 --> 00:05:15,657
It's... I've always interpreted
those as being broken,
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00:05:15,658 --> 00:05:18,067
dishonest peace pipe treaties.
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00:05:18,068 --> 00:05:21,072
They're not... these two guys,
Grady and Jack,
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00:05:21,073 --> 00:05:24,156
are not being honest
with each other.
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00:05:24,157 --> 00:05:26,909
Grady is trying to get Jack
to go kill his family
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00:05:26,910 --> 00:05:28,249
and commit genocide,
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00:05:28,250 --> 00:05:29,747
in the larger sense
of the movie.
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00:05:29,748 --> 00:05:32,039
You know, I mean,
Kubrick often,
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in many of his movies,
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00:05:35,377 --> 00:05:37,048
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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00:05:39,765 --> 00:05:41,632
"What was that about?"
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00:05:41,633 --> 00:05:44,718
And he would put things
in the scenes
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00:05:44,719 --> 00:05:46,266
that he knows will be,
among other things,
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00:05:46,267 --> 00:05:49,312
like confirmers when people
start to try to figure out
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00:05:49,313 --> 00:05:51,100
what the movie is about.
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00:05:51,101 --> 00:05:53,894
And we know he took
this kind of care.
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00:05:53,895 --> 00:05:55,896
There's a photograph
in one of the books
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00:05:55,897 --> 00:05:57,523
that actually shows Kubrick
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00:05:57,524 --> 00:05:59,367
carefully arranging
objects on the shelves
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00:05:59,368 --> 00:06:01,861
in that dry goods room.
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00:06:01,862 --> 00:06:03,487
I thought afterwards,
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00:06:03,488 --> 00:06:06,617
"How come I saw this and
a lot of other people didn't?"
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00:06:06,618 --> 00:06:08,409
And I've thought about it.
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00:06:08,410 --> 00:06:09,749
It's a combination of factors.
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00:06:09,750 --> 00:06:12,588
First, I grew up in Chicago
and, therefore,
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00:06:12,589 --> 00:06:14,957
just north
of the Calumet Harbor
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00:06:14,958 --> 00:06:19,420
and spent summers up
in the sand dunes of Michigan,
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00:06:19,421 --> 00:06:21,139
around on the other side
of Lake Michigan.
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My father
took me and my sister out
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00:06:23,303 --> 00:06:25,885
to collect little bits
of Indian pottery.
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00:06:25,886 --> 00:06:27,308
I'd already...
I'd already covered,
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00:06:27,309 --> 00:06:28,846
at that point in 1980,
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00:06:28,847 --> 00:06:31,807
five years
of the Lebanese civil war.
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00:06:31,808 --> 00:06:34,186
I was, at that point,
covering John Paul ll.
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00:06:34,187 --> 00:06:35,686
I was the Rome Bureau Chief.
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00:06:35,687 --> 00:06:38,609
And listening
to what he was saying about...
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00:06:38,610 --> 00:06:41,235
because he had experienced
the Holocaust at its epicenter
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00:06:41,236 --> 00:06:43,360
and also other horrors.
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00:06:43,361 --> 00:06:46,405
And so all of those factors
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00:06:46,406 --> 00:06:48,532
were very much alive in my mind
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00:06:48,533 --> 00:06:50,326
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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00:06:53,705 --> 00:06:58,626
And all of those coming together
along with the little key,
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00:06:58,627 --> 00:07:01,503
the Calumet baking soda can,
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00:07:01,504 --> 00:07:04,173
is why I just happened
to tune to it
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00:07:04,174 --> 00:07:08,969
as we were driving up out of
that underground parking garage
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00:07:08,970 --> 00:07:10,187
just off Leicester Square.
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00:07:13,183 --> 00:07:16,733
- I first saw the movie in 1980
when it first came out
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00:07:16,734 --> 00:07:19,605
and saw it probably two times.
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00:07:19,606 --> 00:07:21,777
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.
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00:07:26,029 --> 00:07:27,368
The window in the office,
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00:07:27,369 --> 00:07:29,537
that's another thing
that really stuck with me.
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00:07:31,785 --> 00:07:34,582
I remember, you know,
in the newspapers afterwards,
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00:07:34,583 --> 00:07:35,749
people being disappointed.
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00:07:35,750 --> 00:07:37,498
And I remember people
that I knew,
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yes, in dialogue afterwards,
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being disappointed that it was
not more a horror film.
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Well, no Kubrick film's
really just a regular movie.
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I understood that from,
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00:07:49,094 --> 00:07:51,893
well, when I was 10 years old
and I first saw 2001.
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I walked away.
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00:07:52,889 --> 00:07:54,434
I thought, "This is a film
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that's supposed
to make me think."
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00:07:58,770 --> 00:08:02,231
- I had my first
religious experience
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00:08:02,232 --> 00:08:07,778
seeing the film
2001: A Space Odyssey in 1968.
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00:08:07,779 --> 00:08:14,243
I was a smart kid
and liked art,
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00:08:14,244 --> 00:08:16,578
but I really
did not like movies
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00:08:16,579 --> 00:08:20,249
and thought that they
were really a substandard art.
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00:08:20,250 --> 00:08:21,752
And, you know, films like
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00:08:21,753 --> 00:08:24,795
My Fair Lady
and Doctor Dolittle were out.
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00:08:24,796 --> 00:08:29,925
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
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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,
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00:08:40,946 --> 00:08:42,479
and I watched it.
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And I had never in my life
envisioned that a movie
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00:08:46,818 --> 00:08:49,278
could do what this movie
was doing.
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00:08:49,279 --> 00:08:52,123
And it was showing me things
that I had never seen,
168
00:08:52,124 --> 00:08:54,783
and it was
intellectually challenging.
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00:08:54,784 --> 00:08:59,621
And it was an artistic
masterpiece in every way,
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00:08:59,622 --> 00:09:04,126
from the soundtrack to
the visuals to the story line.
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00:09:04,127 --> 00:09:07,051
And when the movie ended,
I couldn't get out of my seat.
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00:09:07,052 --> 00:09:09,465
I was frozen in the seat,
173
00:09:09,466 --> 00:09:13,093
completely paralyzed
by what I'd just witnessed.
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00:09:13,094 --> 00:09:16,722
And the usher actually
had to come and get me out.
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00:09:16,723 --> 00:09:19,433
And I was the last person,
me and her.
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00:09:19,434 --> 00:09:21,852
And I staggered
out of the theater
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completely changed
as a human being
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00:09:24,564 --> 00:09:25,816
and decided at that moment
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00:09:25,817 --> 00:09:27,816
that the only thing
that I wanted to do
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00:09:27,817 --> 00:09:29,485
for the rest of my life
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00:09:29,486 --> 00:09:32,988
was to make films
in one fashion or another.
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00:09:32,989 --> 00:09:35,115
And so I have done that.
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00:09:35,116 --> 00:09:40,037
So I owe Stanley Kubrick and
his film 2001: A Space Odyssey
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00:09:40,038 --> 00:09:44,708
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
The Shining in 1980.
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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
The Destruction
of the European Jews.
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
Schindler's List, of course.
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
finished with Barry Lyndon,
he was bored.
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
Barry Lyndon
is a boring movie.
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
- Suggestible trends.
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
Inside The Shining are
hundreds of subliminal images
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
during the making of
The Shining to know this one.
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
But in The Shining,
the dissolves go on for so long
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 Playgirl magazine
in the lobby of a hotel
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 The Shining that's, I think,
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 The Shining."
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
also gave us in The Shining
is a movie about the past.
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
for The Shining,
in which we see
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 mean, The Shining is his movie
about how families break down,
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,
Eyes Wide Shut is the opposite.
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
And the minotaur's name is,
what, Asterius?
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 Full Metal Jacket.
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
2001: A Space Odyssey,
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 The Shining.
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,
The Three Little Pigs,
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
The Three Little Pigs
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
in The Three Little Pigs."
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
The Uses of Enchantment...
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
And in The Shining,
we can see the fruits of that
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 Summer 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,
The Magic Mountain,
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 Lolita,
Nabokov uses the number 42
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
Dies Irae,
which is the day of judgment,
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
really is.
1382
01:11:38,633 --> 01:11:41,963
And The Shining,
as we come to understand it,
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 Jesus Christ Superstar.
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 Eyes Wide Shut.
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
if you go and see The Shining
innocent the first time
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
The Aryan Papers,
but that he got mom and mom
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
He used Schindler's List
as saying,
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 is there."
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 The Shining
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 The Shining was a film
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 2001,
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
The Shining forwards
and backwards at the same time.
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
The Shining takes place
on the top of a mountain
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
You know, instead of 2001, where
you're traveling to something,
1755
01:30:35,682 --> 01:30:40,356
the point of The Shining
is to escape, is to travel out.
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 Kubrick's Odyssey
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 come 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
for Full Metal Jacket.
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
The Shining, it's actually
about the American Indians."
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 Eyes Wide Shut
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 Finnegan's Wake?
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
The Shining, you know?
1944
01:40:29,398 --> 01:40:31,742
♪ Dies irae ♪
1945
01:40:31,743 --> 01:40:36,238
♪ Dies illa ♪
1946
01:40:36,239 --> 01:40:45,747
♪ Solvet saeclum in favilla ♪
1947
01:40:45,748 --> 01:40:54,589
♪ Teste David cum sibylla ♪
1948
01:42:03,242 --> 01:42:05,410
♪ Dies irae ♪
1949
01:42:05,411 --> 01:42:09,998
♪ Dies illa ♪
1950
01:42:09,999 --> 01:42:19,132
♪ Solvet saeclum in favilla ♪
1951
01:42:19,133 --> 01:42:28,308
♪ Teste David cum sibylla ♪
1952
01:42:28,309 --> 01:42:30,477
♪ Dies irae ♪
1953
01:42:30,478 --> 01:42:35,065
♪ Dies illa ♪
1954
01:42:35,066 --> 01:42:44,240
♪ Solvet saeclum in favilla ♪
1955
01:42:44,241 --> 01:42:53,218
♪ Teste David cum sibylla ♪
1956
01:42:55,000 --> 01:42:58,000
Synchronisation, Spell-Check & Error-Correction
by SNUIF
154660
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