No traditional gothic horror trappings to fall back on.Īlso aiding this disquieting sense of space and size was the film’s pioneering use of Steadicam. Magnificently lit by director of photography John Alcott, the sets created a vast and seamless virtual world that appears to be perpetually bathed in bright, white light. Key to establishing that mood was Kubrick and production designer Roy Walker’s construction of the Overlook Hotel interior at the EMI Elstree Studios in Borehamwood. A brilliantly surreal portrait of urban isolation and familial dysfunction, Eraserhead’s stunning use of sound and evocative camera moves made a big impression on Kubrick, and he screened Lynch’s film for cast and crew to communicate the mood he was trying to achieve with The Shining. The mainstream success of films such as Rosemary’s Baby, The Exorcist and The Omen had shown the genre was amenable to a more grounded and personal style of filmmaking, while it was certainly no bad idea to hitch oneself to the rising star that was Stephen King.Ī confirmed admirer of Friedkin and Polanski’s films, Kubrick was also heavily influenced by David Lynch’s 1977 debut feature, Eraserhead.
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