“'As Danny backs up, stepping in his own footprints to fool Jack, I had to back up ahead of him also in his footprints! To accomplish this I had to wear special stilts with Danny-shoes nailed to the bottom so I wouldn't make the footprints any bigger!'”—Steadicam inventor/operator Garrett Brown, in a 1980 article in American Cinematographer magazine.
This track was one of many that Wendy Carlos and Rachel Elkind composed for The Shining after having read Stephen King’s novel, over a year before the film actually went into production. Of those early tracks, this is the only one that Kubrick used, though not in the finished film. Instead, he used it over The Shining’s striking and iconic trailer, a choice that arguably set the tone for the music he would later use.
This track, though not a part of the original soundtrack album, was released as part of Carlos and Elkind’s full score, which is now out of print.
“'[Kubrick] actually took out a scene … where Jack finds the scrapbook in the boiler room. And I thought that was very important because you had to know the moment in which he came under the control of the hotel. It's like the moment in a fairy story when the hero takes the poison apple. The main character makes a mistake that brings them into the grip of evil. That was when Jack made his mistake.
Before that, it could have gone either way. It’s his vanity and his hope to be a great writer that leads him to take this scrapbook as a gold mine of subjects. That was written and shot. I was sorry to see that Kubrick cut that out.’”—Novelist Diane Johnson, co-screenwriter of The Shining, discussing a deleted scene in a 2002 interview.
"Midnight, the Stars and You" by Al Bowlly with Ray Noble & His Orchestra, as reinterpreted by The Caretaker.
The Caretaker, a long-running project by musician James Kirby, was inspired by the Gold Room Ball sequence in The Shining. Most of his work involves old band music filtered through a hazy lens - distant, haunted, ambient echoes from another time.
Composed by György Ligeti and performed by Sinfonie-Orchestra des Sudwestfunk, conducted by Ernest Bour.
A portion of this track was used to underscore Danny’s first vision of the blood elevator and the Grady twins while standing at his bathroom mirror. Another section was used for the aftermath of Danny encountering the Grady twins in the Staff Wing hallway.
György Ligeti was a Hungarian composer of contemporary classical music. Kubrick used Ligeti’s music in 2001: A Space Odyssey, as well as Eyes Wide Shut.
“I think we tend to be a bit hypocritical about ourselves… We are capable of the greatest good and the greatest evil, and the problem is that often we can’t distinguish between them when it suits our purpose.”—Stanley Kubrick, in conversation with film critic Michel Ciment about The Shining in 1980.