1:30:00
He was very, very, very sad
and disheartened. . .
1:30:04
. . .that particularly smaller papers
and smaller television stations. . .
1:30:09
. . .did not at all appreciate. . .
1:30:11
. . .the tremendous effort
that went into these films. . .
1:30:14
. . .and just simply dismissed it.
1:30:17
Whatever movie Stanley made,
what I love about his work. . .
1:30:20
. . .is they are completely conscious.
1:30:22
You may like them,
you may not like them. . .
1:30:25
. . .you may say, "What about this,
that or the other thing?"
1:30:30
But everybody pretty much
acknowledges he's the Man. . .
1:30:36
. . .and I still feel that underrates him.
1:30:39
Kubrick's next film
looked far more commercial.
1:30:42
With Stephen King's
best-selling novel, The Shining...
1:30:46
. . .he took the chance to make a film
that would satisfy him artistically. . .
1:30:50
. . .and meet box office demands.
1:30:52
I'm asking about The Shining,
and he says:
1:30:56
"In reality, this is
an optimistic picture. "
1:31:00
I said, "On what basis, Stanley?"
And he said...
1:31:04
As the existential, pragmatic
man that he was, he said:
1:31:09
"Well, in some way this movie
is about ghosts.
1:31:13
Anything that says there's anything
after death is an optimistic story. "
1:31:18
The Shining has images
that I wake up screaming about.
1:31:21
That little boy in the hall.
1:31:23
The tracking shot. . .
1:31:25
The boy on the bike.
1:31:26
. . .of the boy.
1:31:27
The sense of movement it gave that
picture inside this foreboding place.