“'I think then that Stanley actually told Vivian NOT to cut any of her documentary until the movie was finished because it was going to be part of the promotion for the main movie and would contain many clips. Vivian's original final cut worked extremely well, but unfortunately Stanley was not entirely happy with it - he always saw the main purpose of the documentary as a way of promoting The Shining, so he had us take out two nice scenes of him directing so that he could have us put in two more clips from The Shining. Vivian was very upset, but Stanley's views of course prevailed, as always! The final cut, in the sense of what scenes of Stanley were in and what were out, was his.'”—Gordon Stainforth, assistant editor and music editor on The Shining, as well as editor of Vivian Kubrick’s documentary on the making of The Shining.
“'There's something inherently wrong with the human personality. There's an evil side to it. One of the things that horror stories can do is to show us the archetypes of the unconscious: we can see the dark side without having to confront it directly.'”—Stanley Kubrick, discussing his attraction to The Shining with Jack Kroll of Newsweek magazine in 1980.
“'Stanley's head to head approach brought the very best out of Jack, Scatman, me, Danny, everybody. The mixture of anger, frustration, and ideas made the film really fly. I might have hated him at the time, but I now see him as a really important filmmaker who gave me the role of my life and made me the sort of actress I never dared think I'd become.'”—Actress Shelley Duvall, discussing her experience on The Shining.
This track is used many places in The Shining. Among them: When Danny encounters the Grady Twins in the hallway and sees their bloodied bodies, as well as during the chase through the Hedge Maze in the film’s finale
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.