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.
1:39:03
When I say that the people. . .
1:39:05
. . .who love Stanley's movies
were mostly movie people. . .
1:39:09
. . .they're just looking
at what's in the frame.
1:39:12
What's the "movieness" of the movie.
1:39:15
They, of course, love Stanley
in a very uncomplicated way.
1:39:19
Whereas the critical community. . .
1:39:23
. . .tends to fuss and fidget. . .
1:39:25
. . .over what Stanley did.
1:39:28
After The Shining,
Kubrick and his family. . .
1:39:31
. . .moved to a mansion
in the Hertfordshire countryside.
1:39:34
Except when filming on location,
he would do all his work here. . .
1:39:38
. . .supported by a small,
dedicated team.
1:39:40
The joke we had about Stanley was...
1:39:43
This was the line
you would never hear from him. . .
1:39:46
. . .was, "Don't bother me with details,
I've got faith in your judgment. "
1:39:51
Stanley would involve himself
to such an extent. . .
1:39:54
. . .with the detail of stuff that
one thought was a bit beneath him.
1:39:58
He should've been doing major stuff. . .