WFMU Midnight Matinee’s John Schnall sat through The Shining fourteen times when it first came out and lived to talk about it 37 years later for this week’s podcast.
Elstree Studios film historian Howie Berry dollops out some amazing inside scoops about the elevator of blood, continuity errors, and some scenes we’ll never see.
A map of where everything was filmed at Elstree Studios.
Watching the Vision Assist, which captured each day’s takes with Kubrick having to print the film. (He printed most of them anyway!)
A TV spot with alternate takes never used in the film.
A call sheet from The Shining.
Inspiration for continuity errors in the film?
From Stephen King’s The Shining
Danny lay awake in his bedroom, eyes open…
His glider floated overhead from a string. On his bureau the VW model, brought up from the roadway setup downstairs, glowed a dimly florescent purple. His books were in the bookcase, his coloring books on the desk. A place for everything and everything in its place, Mommy said. Then you know where it is when you want it. But now things had been misplaced. Things were missing. Worse still, things had been added, things you couldn’t quite see, like in one of those pictures that said CAN YOU SEE THE INDIANS? And if you strained and squinted, you could see some of them—the thing you had taken for a cactus at first glance was really a brave with a knife clamped in his teeth, and there were others hiding in the rocks, and you could even see one of their evil, merciless faces peering through the spokes of a covered wagon wheel. But you could never see all of them, and that was what made you uneasy. Because it was the ones you couldn’t see that would sneak up behind you, a tomahawk in one hand and a scalping knife in the other…
Marcus Pinn from Pinnland Empire and Zebras in America talks with me about this intense scene, plus the stuff that messed with our brains in childhood.
