3. Serena Ferrara, Steadicam: Techniques and Aesthetics (Oxford: Focal Press, 2000), 19.
4. Michel Ciment, Kubrick: The Definitive Edition, trans. Gilbert Adair (New York: Faber and Faber, 1999), 189.
5. Telex reprinted in Garrett Brown, “The Steadicam and The Shining,” American Cinematographer 61, no. 8 (August 1980): 786.
6. Ferrara, Steadicam, 31.
7. Brown, “The Steadicam and The Shining,” 826.
8. Interview with Herb Lightman with director of photography of The Shining John Alcott, “Photographing Stanley Kubrick’s The Shining,” American Cinematographer 61, no. 8 (August 1980): 781.
9. Ferrara, Steadicam, 80.
10. Quoted in Vincent LoBrutto, Stanley Kubrick: A Biography (New York: Da Capo Press, 1997), 453.
11. David A. Cook, “American Horror: The Shining,” Film Literature Quarterly 12, no.1 (1984): 2.
12. Blakemore gave these details about his article: “My 1987 article on Kubrick‘s The Shining was written for, and edited by, The Washington Post. It was published on the front page of the Post’s Sunday entertainment section on July 12, 1987, under the headline, ‘Kubrick‘s Shining Secret: Film’s Hidden Horror Is the Murder of the Indian.’” http://williamblakemore.com/Blakemore-%20Kubrick%20Shining.pdf.
13. Kubrick biographer Vincent LoBrutto suspects that Kubrick may have been inspired to use twins instead of just sisters because of two images: photographer Diane Arbus’s iconic image of twins from 1967—an idea put forth by Arbus’ biographer Patricia Bosworth—and another image that Kubrick himself took when he worked for Look magazine in which two sisters stand side by side in front of the men who saved them from carbon monoxide poisoning. LoBrutto, Stanley Kubrick, 444–445.
14. Geoffrey Cocks, The Wolf at the Door: Stanley Kubrick, History, and the Holocaust (New York: Peter Lang, 2004), 2.
15. Cocks, The Wolf at the Door, 246.
16. In James Howard’s Stanley Kubrick Companion, Howard claims that Kubrick changed the number of the room “as a favour” to the Timberline Lodge in Oregon, on which the Overlook Hotel is based. The Timberline had a room 217, but its association with the disturbing events in The Shining might have caused some problems. The Timberline did not have a room 237, so there was no problem there. James Howard, Stanley Kubrick Companion (London: B.T. Batsford, 1999), 151.
17. Ciment, Kubrick: The Definitive Edition, 196. He went on to say, “I wonder how many people have ever had their views changed by a work of art?”
18. LoBrutto, Stanley Kubrick, 411.
19. LoBrutto, Stanley Kubrick, 417.
20. LoBrutto, Stanley Kubrick, 418.
21. Letter, “From the office of Rudi Fehr 12/23/77,” in the Stanley Kubrick Archive, University of the Arts London.
22. Although this cue was not used in the film, it did appear at the end of Vivian Kubrick’s documentary The Making of The Shining, which is included on the DVD release of the film.
23. Stanley Kubrick: A Life in Pictures, directed by Jan Harlan (2007, Warner Home Video), 1:41.
24. See full track listings of these albums in appendix C.
25. The Polymoog was probably best known as the synthesizer used in Gary Numan’s song “Cars.” The instrument was manufactured from 1975 to 1980 by the Moog Music company.
26. K. J. Donnelly, The Spectre of Sound: Music in Film and Television (London: BFI Publishing, 2005), 53, note 15.
27. LoBrutto, Stanley Kubrick, 448–449.
28. wendycarlos.com/discs.html#BR.
29. Luis M. Garcia Mainar, Narrative and Stylistic Patterns in the Films of Stanley Kubrick (Rochester, NY: Camden House, 1999), 56.
30. James Naremore, On Kubrick (London: BFI, 2007), 193.
31. Donnelly mentions Christopher Hoile’s 1984 article “The Uncanny and the Fairy Tale in Kubrick’s The Shining,” in Literature Film Quarterly 12, no. 1 (1984): 5–12. In it, Hoile discusses the influence on The Shining of Freud’s essay “The Uncanny” and Bruno Bettelheim’s The Uses of Enchantment from 1976. Donnelly, The Spectre of Sound, 52.
32. Donnelly, The Spectre of Sound, 50.
33. Leonard Lionnet, “Mysteries of the Overlook,” Film Score Monthly 9, no.1 (January 2004): 46–47.
34. Donnelly, The Spectre of Sound, 46.
35. A reprint of Stainforth’s summary music chart for The Shining can be found in Barham, “Incorporating Monsters,” 62–64.
36. Barham, “Incorporating Monsters,” 145.
37. Barham, “Incorporating Monsters,” 145.
38. Howard, Stanley Kubrick Companion, 153.
39. Howard, Stanley Kubrick Companion, 153. http://www.gordonstainforth.co.uk/.
40. Please see the plot synopsis of The Shining in appendix B.
41. LoBrutto, Stanley Kubrick, 448–449.
42. The poem also shares similarities with texts from other traditions like Une thae tokef, a Hebrew chant for Yom Kippur, and a seventh-century Advent hymn. From Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham, MD: Scarecrow Press, 2003), 509.
43. Richard L. Crocker, John Caldwell, and Alejandro E. Planchart, “Sequence,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 2001), 91.
44. John Caldwell and Malcolm Boyd, “Dies Irae,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 2001), 332.
45. Caldwell and Boyd, “Dies Irae,” 332.
46. Incidentally, Penderecki wrote a Dies Irae in 1967 to commemorate the men and women who lost their lives in Auschwitz, but it features neither the text nor the chant; it instead mixes textual source material from various sources. Caldwell and Boyd, “Dies Irae,” 333.
47. William Rosar, “The Dies Irae in Citizen Kane: Musical Hermeneutics Applied to Film Music,” in Film Music: Critical Approaches, ed. K. J. Donnelly (New York: Continuum, 2001), 103–116.
48. Donnelly, The Spectre of Sound, 42.
49. A full rendering of the text in both Latin and English can be found at http://www.franciscan-archive.org/de_celano/opera/diesirae.html.
50. Michael D. Searby, Ligeti’s Stylistic Crisis: Transformation in His Musical Style 1974–1985 (Lanham, MD: Scarecrow Press, 2010), 8.
51. Searby, Ligeti’s Stylistic Crisis, 37.
52. Richard Steinitz, György Ligeti: Music of the Imagination (Boston: Northeastern University Press, 2003), 153.
53. Ligeti, Lontano (Mainz: B. Schott’s Söhne, 1967).
54. Searby, Ligeti’s Stylistic Crisis, 145.
55. Nicky Losseff, “The Piano Concerto and Sonata for Two Pianos and Percussion,” in The Cambridge Companion to Bartók, ed. Amanda Bayley (Cambridge: Cambridge University Press, 2001), 125.
56. Adrian Thomas, “Penderecki,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 2001), 305.
57. Thomas, “Penderecki,” 306.
58. Thomas, “Penderecki,” 307.
59. Geoffrey Cocks, “Death by Typewriter: Stanley Kubrick, the Holocaust, and The Shining,” in Depth of Field: Stanley Kubrick, Film, and the Uses of History, ed. Geoffrey Cocks, James Diedrick, and Glenn Perusek (Madison: University of Wisconsin Press, 2006), 211.
60. Leonard Lionnet attempted to make a similar chart in the article “Mysteries of the Overlook: Unraveling Stanley Kubrick’s Soundtrack to The Shining,” Film Score Monthly 9, no.1 (January 2004): 44–47, although he does not make note of the overlapping cues, and in the hedge maze sequence he leaves the credits as simply “Various.”
61. http://www.schott-music.com/shop/persons/featured/krzysztof-penderecki/index.html.
62. Thomas, “Penderecki,” 307.
63. As an interesting side note, it is worth mentioning that Kubrick again used music on set to create mood. In a documentary on The Shining filmed by Kubrick’s daughter Vivian (included on the DVD release), she captures the filming of the hedge maze chase, and in the excerpt Kubrick is playing a tape of Igor Stravinsky’s ballet The Rite of S
pring and directing Danny in his escape. There is no evidence to suggest he ever considered using the music for Stravinsky’s ballet for the film, and there is no footage of him using Penderecki’s musical selections to create mood, although they can be quite unnerving in the right context.
64. http://www.jackhylton.com/.
65. Stephen King, The Shining (New York: Pocket Books, 1977), 28.
66. Ciment, Kubrick: The Definitive Edition, 194.
67. http://www.visual-memory.co.uk/faq/html/shining/shining.html.
Table 6.1. Soundtrack of The Shining
Begin Cue
End Cue
Piece(s)
Actions
1:41:15
Polymorphia
Argument between Wendy and Jack
1:49:10
Add layer—Kanon Paschy
Wendy hits Jack with the bat
1:49:25
Polymorphia becomes prominent again (beginning to m. 38)
Wendy drags Jack to the pantry
1:53:20
Polymorphia fades out
1:53:20
De Natura Sonoris #1
Wendy runs out to check Sno-cat
1:53:48
Add layer—Polymorphia*
Wendy sees Sno-cat has been sabotaged
1:54:20
Polymorphia* ends
1:54:26
De Natura Sonoris #1 ends
1:54:26
1:57:40
No music
Grady and Jack talk; wind SFX
1:57:41
De Natura Sonoris #2 (beginning to about m. 14)
Hallorann drives through the snow / redrum
2:00:54
De Natura Sonoris #2 ends abruptly
2:00:55
Ewangelica—opening “Rattle” only
Jack puts an ax through the door
2:01:03
“Rattle” ends
2:01:04
Kanon for Orchestra and Tape
Wendy and Danny try to escape through the window
2:04:12
Add layer—Kanon Paschy
Jack axes through the bathroom door and says, “Here’s Johnny!”
2:04:32
Kanon and Kanon Paschy fade out
2:04:32
2:08:30
No music
Sno-cat sound / wind SFX
2:08:30
Ewangelica (from the beginning of the movement)
Jack axes Hallorann; Danny runs away
(continued)
2:09:49
Add layer—Polymorphia*
Wendy sees man in bear suit
2:10:12
Polymorphia* ends
2:10:12
Ewangelica continues
2:10:22
Ewangelica ends
2:10:22
2:10:46
Unknown
Jack turns on lights outside in the maze
2:10:52
Kanon for Orchestra and Tape
Jack chases Danny into the maze
2:12:02
Kanon ends
2:12:02
2:12:24
No music
Wind and SFX
2:12:24
Ewangelica (from beginning)
Wendy finds Hallorann and the injured guest
2:12:54
Add layer—Kanon for Orchestra and Tape
Jack and Danny run through the maze
2:13:24
Ewangelica ends; Kanon for Orchestra and Tape continues
Wendy sees skeletons in the hotel lobby; Danny retraces his steps
2:14:36
Add layer—Kanon Paschy
Wendy sees blood from the elevator
2:14:43
Kanon for Orchestra and tape ends; Kanon Paschy continues
Jack loses Danny in the maze
2:15:44
Kanon Paschy ends
2:15:44
2:16:11
Unknown
2:16:11
Kanon for Orchestra and Tape
Jack looks for Danny; Danny escapes the maze
2:17:30
Add layer—De Natura Sonoris #2
Wendy and Danny get in the Sno-cat
2:18:00
Kanon for Orchestra and Tape and De Natura Sonoris #2 fade out
2:18:00
2:18:42
No music
Jack’s incoherent yelling
2:18:42
2:19:26
Unknown
Jack wanders around the maze
2:19:30
End
“Midnight, the Stars, and You”
Picture of the July 4 party
Table 6.1. (continued)
Begin Cue
End Cue
Piece(s)
Actions
Chapter Seven
Kubrick’s Final Word
Eyes Wide Shut
Two years after the release of Full Metal Jacket, Kubrick had once again returned to the idea of telling the story of Napoleon Bonaparte, even thinking he might adapt the story for a multiepisode television series. But the notion didn’t last long. Kubrick switched to another idea, the adaptation of Louis Begley’s Wartime Lies, which was to become the film Aryan Papers. This project never made it past pre-production because it would have come out after Steven Spielberg’s Schindler’s List. The decision to postpone the project was made by Kubrick and then CEO of Warner Bros., Terry Semel. Kubrick moved on instead to a possible adaptation of Brian Aldiss’s short story Super-Toys Last All Summer Long, even collaborating with Aldiss to create a working screenplay. When their efforts yielded nothing to Kubrick’s satisfaction, the director worked with other writers, including Arthur C. Clarke, to hash out a scenario. In the end, Kubrick put aside the project ostensibly for a very practical reason; the state of special effects in the late 1980s could not possibly have accommodated what Kubrick envisioned for the film.1 It was Steven Spielberg’s Jurassic Park in 1993 that inspired Kubrick to return to the Super-Toys adaptation. Kubrick met with special effects gurus Dennis Muren and Ned Gorman from Industrial Light and Magic to discuss possible effects for the film (the two men had done visual effects for Jurassic Park and many other films).2 When production of Eyes Wide Shut was finally announced by official Warner Bros. press release in 1995, the statement also confirmed that Kubrick was still planning to make the Super-Toys film—now called A.I.—after he completed Eyes Wide Shut.3
Kubrick eventually offered A.I. to Steven Spielberg after a year of pre-production, believing Spielberg to be better suited to make the film. Spielberg worked on other projects in the late 1990s, but after Kubrick’s death, Christiane Kubrick encouraged Spielberg to revisit A.I. He agreed, fast-tracking the film into production and releasing A.I. Artificial Intelligence in 2001. Eyes Wide Shut would be Kubrick’s last film. He died three months before the film was released in theaters, and although we hear that Kubrick had, in fact, completed editing, we can imagine that he might have continued to fiddle with the final product up until the release date. He was known to do such a thing, even working on edits after the release date in the cases of 2001 and The Shining.
Kubrick’s interest in adapting Arthur Schnitzler’s 1926 novella Traumnovelle (sometimes translated as Dream Story or Rhapsody) seems to go all the way back to the late 1960s, when Kubrick read a translation of the story around the release date of 2001.4 In an essay about Eyes Wide Shut by Hans-Thies Lehmann, there is a photograph of a note made by Kubrick about the acquisition of the rights to Rhapsody on 22 May 1968. It says, “Rhapsody . . . agent says $40,000 but obviously high.”5 Kubrick bought the rights to the property in 1970, but the idea of making it into a film remained on the back burner for quite some time.6 Interestingly, Schnitzler wrote Traumnovelle in his early sixties, about the same age Kubrick was when he finally got around to beginning production on Eyes Wide Shut.7
When he finally decided to make the film, Kubrick engaged the services of screenwriter Freder
ic Raphael to help adapt Schnitzler’s story to a filmable form. Raphael wrote about their collaboration in his book Eyes Wide Open: A Memoir of Stanley Kubrick. Most scholars agree that it “is a source to be used with caution.”8 At issue, among other things, are the lengthy conversations Raphael somehow quotes verbatim. In an interview a few months after Kubrick’s death, Christiane Kubrick stated that Raphael’s memoir was one of the two most unreliable sources of information about her husband.9 Nevertheless, Raphael makes some interesting comments, even if they must be taken with a grain of salt.
Arthur Schnitzler began writing Traumnovelle in 1925, and installments of the story appeared in Die Dame magazine. The book was published as a whole in 1926 and takes place in 1920s Vienna. Schnitzler’s use of dreams in his aptly named Dream Story brings to mind Sigmund Freud, a contemporary of the author and also a resident of Vienna. When Schnitzler turned sixty, he received a letter from Freud, who explained why the two had never met: Freud said that he had not reached out to him for fear of seeing his own “doppelganger.” Schnitzler, like the character Nachtigall in Traumnovelle (Dream Story), had studied medicine but instead ended up pursuing the arts. Schnitzler’s medical background was something he had in common with Freud, and the author read Freud’s work with interest. The degree to which Schnitzler’s work was influenced by Freud’s work has been the topic of some speculation,10 and one can imagine the two would have a lot to discuss regarding their common interests: hypnosis, dreams, hysteria, and human sexuality.
There are connections between Schnitzler and Kubrick as well. In this case, the two men lived at different times and in different cities, but their work is linked by more than just literary interest on Kubrick’s part. Schnitzler provides a direct connection between Kubrick and legendary film director and auteur Max Ophüls.11 Ophüls is recognized as a great influence on Kubrick, and in 1950 Ophüls produced a film adaptation of one of Schnitzler’s most controversial plays, Reigen (often translated Round Dance). Schnitzler’s original was intended only for the eyes of his friends but was performed in public in 1920 and 1921, drawing a strong negative response, including many anti-Semitic comments. The film version of Reigen, called La Ronde, features conversations between sexual partners. Ophüls cast actors who were some of the best and most respected of the time period.12 In Ophüls’s La Ronde, the director adds two things: a master of ceremonies and a carousel. The added character comments on the interactions of the couples, maintains the carousel (which at one point breaks down), and acts as an omniscient presence. The character even contrasts his all-seeing eye with the limited view that men share: “Men never know but one part of reality. And why? . . . Because they only see one aspect of things.”13 A similar sentiment is echoed in a line spoken by the main female character, Alice, in Eyes Wide Shut. In response to the notion that what women really want is security and commitment, Alice says: “If you men only knew.”
Listening to Stanley Kubrick Page 29
