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These are the user uploaded subtitles that are being translated: 1 00:01:00,000 --> 00:01:03,000 Room.237.2012.720p.BluRay.x264.YIFY 2 00:01:06,984 --> 00:01:11,279 - The poster that came out in Europe, 3 00:01:11,280 --> 00:01:12,497 at least in England, I believe, 4 00:01:12,498 --> 00:01:18,160 before the movie was released in Europe said, 5 00:01:18,161 --> 00:01:22,331 "The wave of terror that swept across America." 6 00:01:22,332 --> 00:01:25,506 And Kubrick controlled the posters very carefully. 7 00:01:25,507 --> 00:01:28,671 Now, it made you do a double take. 8 00:01:28,672 --> 00:01:30,089 I remember seeing it in Europe. 9 00:01:30,090 --> 00:01:31,637 I was the Rome Bureau Chief at the time for ABC News. 10 00:01:31,638 --> 00:01:33,009 And I remember looking at it. 11 00:01:33,010 --> 00:01:34,512 It said, "The wave of terror that swept across America." 12 00:01:34,513 --> 00:01:36,512 What's he talking about? 13 00:01:36,513 --> 00:01:41,267 And you'd sort of think that he was talking about 14 00:01:41,268 --> 00:01:43,362 the impact of the book The Shining. 15 00:01:43,363 --> 00:01:44,604 Maybe. 16 00:01:44,605 --> 00:01:47,324 The impact of the movie that had just opened over there? 17 00:01:47,325 --> 00:01:48,316 Maybe. 18 00:01:48,317 --> 00:01:49,859 It didn't quite fit. 19 00:01:49,860 --> 00:01:51,658 The wave of terror that swept across America 20 00:01:51,659 --> 00:01:53,906 from Portland, Maine, to Portland, Oregon, 21 00:01:53,907 --> 00:01:56,704 was the genocidal armies and the white men with their ax 22 00:01:56,705 --> 00:02:00,786 clearing it all and bringing in extractive industries, 23 00:02:00,787 --> 00:02:02,288 among many other good things as well. 24 00:02:02,289 --> 00:02:04,542 But that was the wave of terror that swept across America, 25 00:02:04,543 --> 00:02:08,216 terrifying, of course, the American Indians. 26 00:02:31,234 --> 00:02:34,281 - I went in to see this movie in Leicester Square Movie Theater, 27 00:02:34,282 --> 00:02:36,619 right near Leicester Square in London. 28 00:02:36,620 --> 00:02:38,454 And I remember it quite clearly from... 29 00:02:38,455 --> 00:02:40,496 I can even remember the seats we were sitting in. 30 00:02:40,497 --> 00:02:42,872 If I went back to that theater, I could point them to you, 31 00:02:42,873 --> 00:02:47,500 sort of near the back and over to the left. 32 00:02:47,501 --> 00:02:51,381 From the moment of the opening astonishing helicopter shot, 33 00:02:51,382 --> 00:02:53,255 I was terrified. 34 00:02:53,256 --> 00:02:54,882 I had no idea what was coming. 35 00:02:54,883 --> 00:02:56,726 I remember sort of sitting on the front edge 36 00:02:56,727 --> 00:03:01,263 of my theater seat there to keep from falling off. 37 00:03:01,264 --> 00:03:05,144 And I remember gripping my belt buckle with my left hand, 38 00:03:05,145 --> 00:03:06,435 I think it was... 39 00:03:06,436 --> 00:03:09,440 yes, my left hand, sort of to keep from falling off 40 00:03:09,441 --> 00:03:14,443 the edge of the seat and to try to control my terror 41 00:03:14,444 --> 00:03:15,739 as I watched this movie. 42 00:03:15,740 --> 00:03:17,113 I had no idea what was coming. 43 00:03:17,114 --> 00:03:18,327 I hadn't read the book. 44 00:03:18,328 --> 00:03:20,746 I had barely seen any of the posters. 45 00:03:20,747 --> 00:03:25,871 And I remember that I was stunned when the movie was over. 46 00:03:25,872 --> 00:03:28,624 We left the theater, went in... 47 00:03:28,625 --> 00:03:30,468 down into our underground car park 48 00:03:30,469 --> 00:03:34,004 to get into the car to leave. 49 00:03:34,005 --> 00:03:36,804 And as we were driving up out of the car park, 50 00:03:36,805 --> 00:03:39,468 I was sitting in the back left seat. 51 00:03:39,469 --> 00:03:41,554 I was thinking, "What was that? What was that? 52 00:03:41,555 --> 00:03:42,555 "What was it? What was it? 53 00:03:42,556 --> 00:03:43,597 What was it?" 54 00:03:43,598 --> 00:03:47,435 And I think my visual imagination 55 00:03:47,436 --> 00:03:49,109 looked at that Calumet baking powder can, 56 00:03:49,110 --> 00:03:50,651 the one right behind Hallorann's head 57 00:03:50,652 --> 00:03:52,898 when he was talking to Danny. 58 00:03:52,899 --> 00:03:54,196 I knew what "calumet" meant. 59 00:03:54,197 --> 00:03:56,694 It meant "peace pipe." 60 00:03:56,695 --> 00:04:01,157 And I thought to myself, "peace pipe, Indians. 61 00:04:01,158 --> 00:04:02,450 "Oh, my goodness, 62 00:04:02,451 --> 00:04:04,499 they're all over the place in that movie." 63 00:04:11,209 --> 00:04:13,928 - The loser has to keep America clean. 64 00:04:19,092 --> 00:04:21,635 - And I suddenly said to my friends, 65 00:04:21,636 --> 00:04:23,100 "That movie was about the genocide 66 00:04:23,101 --> 00:04:24,560 of the American Indians." 67 00:04:24,561 --> 00:04:26,727 And they said, "What are you talking about?" 68 00:04:26,728 --> 00:04:28,064 And I started explaining it, 69 00:04:28,065 --> 00:04:30,811 because I'd noticed the Calumet baking soda can. 70 00:04:30,812 --> 00:04:32,860 In the first... the first time we seen one, 71 00:04:32,861 --> 00:04:36,108 it's a single baking powder can straight on. 72 00:04:36,109 --> 00:04:37,985 And you can see the whole word, "Calumet," 73 00:04:37,986 --> 00:04:40,196 so there's no duplicity, 74 00:04:40,197 --> 00:04:41,915 like the little girls represent later. 75 00:04:41,916 --> 00:04:43,824 This is an honest truth, 76 00:04:43,825 --> 00:04:45,910 an honest peace pipe between them. 77 00:04:45,911 --> 00:04:47,629 The other time we see the Calumet baking powder cans 78 00:04:47,630 --> 00:04:49,874 is when they're very carefully placed 79 00:04:49,875 --> 00:04:53,673 behind Jack Nicholson's head when he's talking to Grady. 80 00:04:58,381 --> 00:05:00,634 - No need to rub it in, Mr. Grady. 81 00:05:02,260 --> 00:05:06,058 I'll deal with that situation as soon as I get out of here. 82 00:05:06,059 --> 00:05:08,808 - There's about six or seven of them stacked up, 83 00:05:08,809 --> 00:05:10,398 and they're all turned different ways, 84 00:05:10,399 --> 00:05:12,564 and you can't read any one of them completely. 85 00:05:12,565 --> 00:05:15,657 It's... I've always interpreted those as being broken, 86 00:05:15,658 --> 00:05:18,067 dishonest peace pipe treaties. 87 00:05:18,068 --> 00:05:21,072 They're not... these two guys, Grady and Jack, 88 00:05:21,073 --> 00:05:24,156 are not being honest with each other. 89 00:05:24,157 --> 00:05:26,909 Grady is trying to get Jack to go kill his family 90 00:05:26,910 --> 00:05:28,249 and commit genocide, 91 00:05:28,250 --> 00:05:29,747 in the larger sense of the movie. 92 00:05:29,748 --> 00:05:32,039 You know, I mean, Kubrick often, 93 00:05:32,040 --> 00:05:35,376 in many of his movies, 94 00:05:35,377 --> 00:05:37,048 he will end them with a puzzle 95 00:05:37,049 --> 00:05:39,764 so that he forces you to go out of the theater saying, 96 00:05:39,765 --> 00:05:41,632 "What was that about?" 97 00:05:41,633 --> 00:05:44,718 And he would put things in the scenes 98 00:05:44,719 --> 00:05:46,266 that he knows will be, among other things, 99 00:05:46,267 --> 00:05:49,312 like confirmers when people start to try to figure out 100 00:05:49,313 --> 00:05:51,100 what the movie is about. 101 00:05:51,101 --> 00:05:53,894 And we know he took this kind of care. 102 00:05:53,895 --> 00:05:55,896 There's a photograph in one of the books 103 00:05:55,897 --> 00:05:57,523 that actually shows Kubrick 104 00:05:57,524 --> 00:05:59,367 carefully arranging objects on the shelves 105 00:05:59,368 --> 00:06:01,861 in that dry goods room. 106 00:06:01,862 --> 00:06:03,487 I thought afterwards, 107 00:06:03,488 --> 00:06:06,617 "How come I saw this and a lot of other people didn't?" 108 00:06:06,618 --> 00:06:08,409 And I've thought about it. 109 00:06:08,410 --> 00:06:09,749 It's a combination of factors. 110 00:06:09,750 --> 00:06:12,588 First, I grew up in Chicago and, therefore, 111 00:06:12,589 --> 00:06:14,957 just north of the Calumet Harbor 112 00:06:14,958 --> 00:06:19,420 and spent summers up in the sand dunes of Michigan, 113 00:06:19,421 --> 00:06:21,139 around on the other side of Lake Michigan. 114 00:06:21,140 --> 00:06:23,302 My father took me and my sister out 115 00:06:23,303 --> 00:06:25,885 to collect little bits of Indian pottery. 116 00:06:25,886 --> 00:06:27,308 I'd already... I'd already covered, 117 00:06:27,309 --> 00:06:28,846 at that point in 1980, 118 00:06:28,847 --> 00:06:31,807 five years of the Lebanese civil war. 119 00:06:31,808 --> 00:06:34,186 I was, at that point, covering John Paul ll. 120 00:06:34,187 --> 00:06:35,686 I was the Rome Bureau Chief. 121 00:06:35,687 --> 00:06:38,609 And listening to what he was saying about... 122 00:06:38,610 --> 00:06:41,235 because he had experienced the Holocaust at its epicenter 123 00:06:41,236 --> 00:06:43,360 and also other horrors. 124 00:06:43,361 --> 00:06:46,405 And so all of those factors 125 00:06:46,406 --> 00:06:48,532 were very much alive in my mind 126 00:06:48,533 --> 00:06:50,326 when we went to see The Shining, 127 00:06:50,327 --> 00:06:52,705 which I just thought was going to be some kind of horror movie 128 00:06:52,706 --> 00:06:53,704 by this great moviemaker. 129 00:06:53,705 --> 00:06:58,626 And all of those coming together along with the little key, 130 00:06:58,627 --> 00:07:01,503 the Calumet baking soda can, 131 00:07:01,504 --> 00:07:04,173 is why I just happened to tune to it 132 00:07:04,174 --> 00:07:08,969 as we were driving up out of that underground parking garage 133 00:07:08,970 --> 00:07:10,187 just off Leicester Square. 134 00:07:13,183 --> 00:07:16,733 - I first saw the movie in 1980 when it first came out 135 00:07:16,734 --> 00:07:19,605 and saw it probably two times. 136 00:07:19,606 --> 00:07:21,777 I can say that I remembered the skier poster. 137 00:07:21,778 --> 00:07:24,198 That is one thing that really stuck with me. 138 00:07:24,199 --> 00:07:26,028 And the window. 139 00:07:26,029 --> 00:07:27,368 The window in the office, 140 00:07:27,369 --> 00:07:29,537 that's another thing that really stuck with me. 141 00:07:31,785 --> 00:07:34,582 I remember, you know, in the newspapers afterwards, 142 00:07:34,583 --> 00:07:35,749 people being disappointed. 143 00:07:35,750 --> 00:07:37,498 And I remember people that I knew, 144 00:07:37,499 --> 00:07:39,092 yes, in dialogue afterwards, 145 00:07:39,093 --> 00:07:42,920 being disappointed that it was not more a horror film. 146 00:07:42,921 --> 00:07:47,257 Well, no Kubrick film's really just a regular movie. 147 00:07:47,258 --> 00:07:49,093 I understood that from, 148 00:07:49,094 --> 00:07:51,893 well, when I was 10 years old and I first saw 2001. 149 00:07:51,894 --> 00:07:52,888 I walked away. 150 00:07:52,889 --> 00:07:54,434 I thought, "This is a film 151 00:07:54,435 --> 00:07:56,480 that's supposed to make me think." 152 00:07:58,770 --> 00:08:02,231 - I had my first religious experience 153 00:08:02,232 --> 00:08:07,778 seeing the film 2001: A Space Odyssey in 1968. 154 00:08:07,779 --> 00:08:14,243 I was a smart kid and liked art, 155 00:08:14,244 --> 00:08:16,578 but I really did not like movies 156 00:08:16,579 --> 00:08:20,249 and thought that they were really a substandard art. 157 00:08:20,250 --> 00:08:21,752 And, you know, films like 158 00:08:21,753 --> 00:08:24,795 My Fair Lady and Doctor Dolittle were out. 159 00:08:24,796 --> 00:08:29,925 And it was a rather pathetic time in the '60s for films. 160 00:08:29,926 --> 00:08:32,428 And my girlfriend, she pulled up 161 00:08:32,429 --> 00:08:36,098 and told me that she'd seen a movie the night before 162 00:08:36,099 --> 00:08:38,100 and she wanted to see it again. 163 00:08:38,101 --> 00:08:40,945 So she took me to the theater, the Cinerama Dome, 164 00:08:40,946 --> 00:08:42,479 and I watched it. 165 00:08:42,480 --> 00:08:46,817 And I had never in my life envisioned that a movie 166 00:08:46,818 --> 00:08:49,278 could do what this movie was doing. 167 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. 169 00:08:54,784 --> 00:08:59,621 And it was an artistic masterpiece in every way, 170 00:08:59,622 --> 00:09:04,126 from the soundtrack to the visuals to the story line. 171 00:09:04,127 --> 00:09:07,051 And when the movie ended, I couldn't get out of my seat. 172 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. 174 00:09:13,094 --> 00:09:16,722 And the usher actually had to come and get me out. 175 00:09:16,723 --> 00:09:19,433 And I was the last person, me and her. 176 00:09:19,434 --> 00:09:21,852 And I staggered out of the theater 177 00:09:21,853 --> 00:09:24,563 completely changed as a human being 178 00:09:24,564 --> 00:09:25,816 and decided at that moment 179 00:09:25,817 --> 00:09:27,816 that the only thing that I wanted to do 180 00:09:27,817 --> 00:09:29,485 for the rest of my life 181 00:09:29,486 --> 00:09:32,988 was to make films in one fashion or another. 182 00:09:32,989 --> 00:09:35,115 And so I have done that. 183 00:09:35,116 --> 00:09:40,037 So I owe Stanley Kubrick and his film 2001: A Space Odyssey 184 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. 188 00:10:11,528 --> 00:10:14,368 And frankly, I didn't think that much of it. 189 00:10:14,369 --> 00:10:16,867 I thought the other Kubrick films that I'd seen 190 00:10:16,868 --> 00:10:19,868 were far superior. 191 00:10:19,869 --> 00:10:24,581 But as I thought about the film afterwards... 192 00:10:24,582 --> 00:10:26,753 and even when I wasn't thinking about it... 193 00:10:26,754 --> 00:10:29,004 there were things that bothered me about it. 194 00:10:29,005 --> 00:10:32,214 It seemed as if I had missed something. 195 00:10:32,215 --> 00:10:35,384 And so I went back to see it again. 196 00:10:35,385 --> 00:10:39,054 And I began to see patterns and details 197 00:10:39,055 --> 00:10:42,057 that I hadn't noticed before. 198 00:10:42,058 --> 00:10:46,395 And so I kept watching the film again and again and again. 199 00:10:46,396 --> 00:10:49,356 And since I'm trained as an historian 200 00:10:49,357 --> 00:10:51,817 and my special expertise 201 00:10:51,818 --> 00:10:56,697 is in the history of Germany and Nazi Germany in particular, 202 00:10:56,698 --> 00:10:58,291 I became more and more convinced 203 00:10:58,292 --> 00:11:02,077 that there is, in this film, 204 00:11:02,078 --> 00:11:06,049 a deeply laid subtext that takes on The Holocaust. 205 00:11:07,917 --> 00:11:12,838 I think it probably was the typewriter, 206 00:11:12,839 --> 00:11:16,925 which was a German brand, which might seem arbitrary, 207 00:11:16,926 --> 00:11:20,387 but by that time, I knew enough about Kubrick 208 00:11:20,388 --> 00:11:26,101 that most anything in his films can't be regarded as arbitrary, 209 00:11:26,102 --> 00:11:29,149 that anything... especially objects and colors 210 00:11:29,150 --> 00:11:33,027 and music and anything else, probably have some intentional 211 00:11:33,028 --> 00:11:36,111 as well as unintentional meaning to them. 212 00:11:36,112 --> 00:11:37,329 And so that struck me. 213 00:11:37,330 --> 00:11:39,072 Why a German typewriter? 214 00:11:39,073 --> 00:11:41,158 And in connection with that, 215 00:11:41,159 --> 00:11:47,039 I began to see the number 42 appear in the film. 216 00:11:47,040 --> 00:11:50,834 And for a German historian, if you put the number 42 217 00:11:50,835 --> 00:11:53,088 and a German typewriter together, 218 00:11:53,089 --> 00:11:54,463 you get the Holocaust, 219 00:11:54,464 --> 00:11:59,885 because it was in 1942 that the Nazis made the decision 220 00:11:59,886 --> 00:12:03,513 to go ahead and exterminate all the Jews they could. 221 00:12:03,514 --> 00:12:07,267 And they did so in a highly mechanical, industrial, 222 00:12:07,268 --> 00:12:09,728 and bureaucratic way. 223 00:12:09,729 --> 00:12:13,649 And so the juxtaposition of the number 42 224 00:12:13,650 --> 00:12:16,574 and the typewriter was really where it started for me 225 00:12:16,575 --> 00:12:19,988 in terms of the historical content of the film. 226 00:12:19,989 --> 00:12:22,491 Of course "adler" in German means "eagle." 227 00:12:22,492 --> 00:12:24,995 And eagle, of course, is a symbol of Nazi Germany. 228 00:12:24,996 --> 00:12:27,290 It's also a symbol of the United States. 229 00:12:27,291 --> 00:12:29,507 And Kubrick generally has recourse to eagles 230 00:12:29,508 --> 00:12:31,297 to symbolize state power. 231 00:12:36,839 --> 00:12:40,217 Kubrick read Raul Hilberg's 232 00:12:40,218 --> 00:12:42,558 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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