posted on: October 19, 2020
How did you cope with those? In fact. The apartment totally overlaps the position where the next apartment should be. So having established that the sets of The Shining were designed with deliberate spatial defects, you’re probably asking yourself “Yeah, so what’s the point?” The point is that the Overlook is not just a place of isolation. When they step back out of the freezer room we find that they have emerged from a door that is opposite the one that they supposedly entered. We determined by testing that the 9.8mm Kinoptik looked best, and that the ideal lens height was about 24 inches. ALCOTT: As I’ve said, Garrett Brown did all of the work with the Steadicam and it was used a great deal on this picture. However, we found that we were constantly getting disoriented and a terrific shot would inadvertently wind up staring out one of the holes. Stanley had engaged Roy Walker to design the sets, and we provided them with some food for thought by going over the various maneuvers that were then possible and, at Kubrick’s request, demonstrating the accuracy with which one could hit marks in order to pull focus in the neighborhood of T/1.4. Also, in the second shot of the maze, the scene when Wendy and Danny enter, we are shown a map directly outside the entrance. I did this continuously with all the sets and I used to view the results the next day. He will give you full power to do it—but, at the same time, it must work. Unfortunately there was a new MacDonalds nearby, so the evening break went through that phase, much to the disgust of the English crew. They were painted in the same colors and had the same scenic decor as we intended to use in the film and I could actually light them. Your generosity of a small contribution will make a difference. In other words, he suggested that we let the practical lighting work for us without using any actual studio lights. As Halloran shows Wendy and Danny around the kitchen, he walks them in a slightly odd path through the various utility tables and arcs back on him self. In the previous version of this analysis I included a short explanation about the layout out of Ullman’s office and the surrounding lobby and hallway areas. In the beginning I was somewhat apprehensive about shooting an entire picture with the 35BL on the Steadicam, not to mention that it was for Kubrick. He has a marvelous eye and something like a physicist’s knowledge of optics. In its benign “summer” form, the Maze was constructed on the old MGM lot outdoors at Borehamwood. We arranged it so that rigging pipes could be fastened anywhere on the frame, and Dennis (Winkle) Lewis, our very able grip, constructed an adapter for the Elemack head. I don’t think that we shot a soft frame in all the time I was on The Shining. We had one of them that was used solely for shooting as our main camera, and the other one was geared up for Garrett Brown to use on the Steadicam. BEST REGARDS, STANLEY I shot that with open arcs to get the very hard shadows which I found effective. However, in the final maze chase of the film Danny again does a full lap upon himself, but this time breaks the loop and makes his way to the maze centre (his path is highlighted in blue on the map below). (More control over a capricious universe!) Stanley made a number of useful observations and speculations about the interaction of the human body with machine such as this. QUESTION: What about the lighting of the maze? The ultimate technologist, but more, his technology serves a larger vision which is uniquely his own. The imposing size of the hotel, its oversized carpet patterns, the mountain ranges, and especially the huge Gold Room and Colarado Lounge, make the characters look small and defenceless - like helpless children. As I say. Even though you might prelight certain pieces of sets and lighting models, you can’t tell what is actually going to happen when you get artists in position. I had a chance to refine my own abilities in the most direct possible way. The service corridors, which were outside the hotel lobby and the main lounge, were all lit with fluorescent tubes.
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