“'I don't know how many times they shot the blood in the elevator. Somebody told me they had been shooting that ever since the shoot first started the year before. They shot it three times while I was there. About every ten days they would shoot it again and Stanley would say, 'It doesn't look like blood' and they would say, 'Well, is it the texture? Is it the color?' It would take them like nine days to set the shot up and then they would come back, the door would open, it would come out and Stanley would say, 'It doesn't look like blood.' But finally they got it.'”—Actor Tony Burton, who played auto mechanic Larry Durkin in The Shining, quoted in Vincent LoBrutto’s book, Stanley Kubrick: A Biography.
Portions of this track are used many places throughout The Shining, including Jack’s angry approach through the hallway leading to the Gold Room when he first visits Lloyd, Danny writing REDRUM in lipstick on the bathroom door, and the chase through the Hedge Maze.
Krzysztof Penderecki is an avant garde Polish composer and conductor. Stanley Kubrick used several pieces of his music in The Shining. His music was also used in The Exorcist, Children of Men, and Shutter Island.
Movie Geeks United continues their series of Kubrick-related interviews with journalist Bill Blakemore, who discusses his theories about The Shining being a manifesto on the annihilation of Native Americans. Blakemore previously wrote about his theories in a 1987 article for the San Francisco Chronicle.
“‘For a person so charming and so likable - indeed lovable - he can do some pretty cruel things when you’re filming. Because it seemed to me, at times, that the end justified the means, I wouldn’t trade the experience for anything. Why? Because of Stanley, and it was a fascinating learning experience. But I wouldn’t want to go through it again.’”—Actress Shelley Duvall, discussing her experience filming The Shining in an interview with Vivian Kubrick for Vivian’s documentary on the making of the film.
“Masquerade” recorded in 1932 by Jack Hylton and his Orchestra. This song is used briefly in The Shining just after Jack angrily storms through the kitchen hallway, rounding a corner and seeing the lobby strewn with balloons and streamers.
“‘I do not want to give any rationalizing explanation of this story. I prefer to use musical terms and speak of motives, variations and resonances. With this kind of narrative, when one tries to offer an explicit analysis, one tends to reduce it to a point of ultra-transparent absurdity. From this point on the musical or poetic utilization of the material is that which is most appropriate.’”—
Stanley Kubrick, discussing The Shining with film critic Michel Ciment in 1980.
This is the original version of The Shining’smain title theme, as delivered to Kubrick by Wendy Carlos. Carlos claims to have introduced Kubrick to the iconic “Dies Irae” melody, as arranged by Hector Berlioz for his Symphonie Fantastique. Kubrick became enamored with the melody, which he originally planned to use throughout the film, but to Carlos’ dismay, he did not like any variation from the austere Berlioz version. For this reason, Kubrick rejected this take, and asked Carlos to create a more simple version.
The version ultimately used in the final film employs the same haunting vocals and ambient effects as heard in this track, but eliminates the brassy electronic fanfare heard at the beginning.
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.
“I knew that I was inside a very big room but every other sense told me I was dwarfed by the deep black night sky and the high clipped hedges of a huge maze. It was peculiarly sinister, especially because the whole scene was draped in silent snow.”—
Actor Anthony Daniels, who played “C-3PO” in the Star Wars films, describing the day he snuck onto the set of The Shining. Daniels’ dressing room for The Empire Strikes Back was across the hall from the entrance to one of the sound stages used by The Shining. After sneaking in one afternoon, Daniels spent time walking around the interior Hedge Maze set, only to realize he was leaving footprints in the artificial snow. He coyly postulates that his backtracking through his own footprints may have given Kubrick the idea for Danny’s escape from Jack.
Read the entire essay here, of which his Shining anecdote is just a part.
This musical texture track was delivered to Kubrick as separate mono tracks, which Kubrick and music editor Gordon Stainforth then used throughout the film – most notably over the scene Jack destroys the radio, as wells as during Dick Hallorann’s flight to Colorado.
This track, not a part of the original soundtrack release, was released as part of Carlos and Elkind’s full score, which is now out of print.