1:37:01
Here's Johnny!
1:37:05
It was a very difficult role.
1:37:07
It was a long shoot
and I had to cry and hyperventilate. . .
1:37:11
. . .and carry a little boy and run. . .
1:37:14
. . .for most of the time we shot.
1:37:17
And that was about a year,
a little over a year.
1:37:21
Anywhere between 30 and 50
videotaped rehearsals. . .
1:37:24
. . .before we even rolled film.
1:37:26
I wouldn't trade the experience
for anything.
1:37:29
Why? Because of Stanley.
1:37:33
And it was a fascinating
learning experience.
1:37:37
It was such intense work,
that I think it makes you smarter.
1:37:42
But I wouldn't want
to go through it again.
1:37:48
We were working with the material
in the book. . .
1:37:51
. . .and trying to make music
that fit the mood. . .
1:37:55
. . .of an updated Gothic horror story.
1:37:58
Which is what The Shining is,
really, as a novel, in any case.
1:38:03
Of course, the stylization
that came out from the filming. . .
1:38:07
. . .was not present in the book.
1:38:09
And so we failed in our attempt.
1:38:12
Which is why there's
other music in the movie.
1:38:16
Danny, you win.
1:38:18
Let's take the rest
of this walking.
1:38:20
A lot of the music cues
are combinations. . .
1:38:23
. . .of some of Ligeti's music,
some of Penderecki's music.
1:38:31
And lots of background patterns
and textures. . .
1:38:34
. . .with heartbeats and sizzling,
electronic, weird sounds. . .
1:38:38
. . .all mixed together. That's how he
finally did what he was looking for.
1:38:53
When The Shining was released,
the response was mixed.
1:38:56
Some people appreciated its riddles
and ambiguities.
1:38:59
Others felt Kubrick had strayed
too far from King's book.