Room 237 Page #4

that it's all faked on film.

You are not seeing troops

storming Normandy.

You're seeing troops

storming a beach in Hollywood.

You know, like, you're not

seeing a plane flying to Japan.

You're seeing a plane flying

over, you know, New Mexico.

What you're really being shown

is, like, staged heroism.

You know, like, you're seeing

men moving with machines,

but you're not seeing what

they're talking about.

And I think that that's

something that Kubrick plays on.

Like, he plays on your

acceptance of visual infor...

and also your ignorance

of visual information.

Like he'll often, like,

put little special clues

that you see,

like, in the corner.

Every scene,

there's an impossibility,

like the TV doesn't have a cord

or even something as simple as,

like, them...

they, like...

they bring too much luggage up.

They, like... Jack, you know,

glances over at a pile

of their luggage

that they brought,

and ifs about the size

of a car.

You know, a lot of it is jokes.

Like, they're taking the tour.

They're crossing the street

from the maze

to go check out the garage.

Like, a car

is just about to hit them.

And then it cuts right before.

- I had anticipated the film

and had read

the Stephen King novel

before the film came out and

found it a very appealing story.

And I had spent

a lot of time

at the Stanley Hotel

in Estes Park, Colorado,

which is where he was inspired

to write the book The Shining.

And so I, you know... I knew

a little bit of the background.

And when

Kubrick's film came out,

I was first in line to see it,

of course.

And I was just

really disappointed

and walked out of the theater

wondering what the hell

I had just witnessed.

And, I... actually,

my reverence for Stanley Kubrick

diminished after that.

I was disappointed, but I still

watched it every few years.

I couldn't understand why I was

so attracted to watching a film

that I actually didn't like.

And now

in all these years later,

I know why it is a great film.

It is a masterpiece,

but not for the reasons

that most people think.

We are dealing with a guy

who has a 200 IQ.

I believe

that when Stanley Kubrick

finished with Barry Lyndon,

he was bored.

He had conquered

the filmmaking landscape.

He had succeeded in making

masterpiece after masterpiece,

and he was bored.

Barry Lyndon

is a boring movie.

It is wonderfully shot.

It is beautifully costumed.

But it is a film

made by a guy who is bored.

And I could see that.

And so I think Stanley

retreated after Barry Lyndon.

And he began working on

a new kind of film,

a film that

had never been made before,

a film that was made

by a bored genius

who had thoroughly

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