1:33:01
. . .and then after
the third or fourth viewing. . .
1:33:05
. . .I understood
the level of intensity. . .
1:33:08
. . .of what Nicholson was doing.
1:33:10
I'm not sure that it's
intended to be. . .
1:33:14
. . .what a typical horror movie is,
which is a realistic portrayal. . .
1:33:17
. . .of supernatural spookiness.
1:33:20
I think that what's going on
in that movie. . .
1:33:24
. . .is largely going on
in Jack Nicholson's head.
1:33:35
Hi, Lloyd.
1:33:40
A little slow tonight,
isn't it?
1:33:47
Yes, it is, Mr. Torrance.
1:33:49
I like the kind of film he makes.
1:33:51
I don't need to be
naturalistic in a film. . .
1:33:55
. . .to feel satisfied as an actor.
1:33:59
One thing he said to me that
I'll always remember was:
1:34:02
"In movies you don't. . .
1:34:04
. . .try and photograph the reality. . .
1:34:08
. . .you try and photograph
the photograph of the reality. "
1:34:12
I knew it wouldn't be a performance
about idiosyncratic behaviorism. . .
1:34:18
. . .but that it would be...
I always thought of it as balletic. . .
1:34:22
. . .in The Shining.
1:34:23
Another lesson was,
"Here Jack. . .
1:34:26
. . .the script says,
'Jack is not writing.'
1:34:29
The question is, what is he doing?"
1:34:32
I said, "Whenever I'm inside
a big empty place. . .
1:34:36
. . .that you normally
wouldn't be alone in. . .
1:34:39
. . .I always think of doing things
that I might do outside. "
1:34:44
And that's where throwing that
tennis ball all during the picture...
1:34:48
And it wound up being
a big part of staging.
1:34:51
It rolls into things. . .
1:34:53
. . .it's thrown the length of hallways,
all those kinds of things.
1:34:58
And it's from those little things
that he would develop. . .