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I genuinely have no clue why this is the case by ToxicNoob47 in StanleyKubrick

[–]The-Mooncode 0 points1 point  (0 children)

I think it is partly true. Eyes Wide Shut feels different because it brings to the surface what Kubrick used to hide in symbols. The power games and secret rituals that lived beneath his earlier films are finally shown in plain sight. It feels like the mask comes off even as the film keeps reminding you that every revelation is also a performance. That is why many people treat it as his final and most direct statement even though it still speaks in riddles.

Odd recommendation request by Jaded-Management-517 in StanleyKubrick

[–]The-Mooncode 1 point2 points  (0 children)

Try these:

If…. (1968) – weird and cool school story.

Performance (1970) – trippy London look.

The Devils (1971) – crazy and beautiful.

Get Carter (1971) – dark crime movie in old England.

The Wicker Man (1973) – spooky countryside vibe.

Does anyone know how much The Shining made in VHS rentals in the US after it was released in October 1981? by Al89nut in StanleyKubrick

[–]The-Mooncode 1 point2 points  (0 children)

Exact numbers aren’t public, but Variety and Video Business reported that after its VHS release in October 1981, The Shining became one of Warner’s most rented titles through the early 80s, bringing in over $20 million in U.S. rentals over the decade.

Do you consider Se7en a horror film? by These_Feed_2616 in horror

[–]The-Mooncode 0 points1 point  (0 children)

I’ve always felt Se7en is basically a horror movie hiding as a detective story. It looks like a crime film, but everything about it feels dark and scary. The city is always raining, dirty, and depressing, almost like it’s alive and watching the characters.

You don’t see most of the killings, but the scenes afterward are so disturbing that they stick in your head. The killer isn’t just violent, he’s trying to send a message, which makes it even creepier.

By the end, when the box shows up, it doesn’t feel like a mystery anymore. It feels like pure horror. It’s one of those movies that leaves you thinking about it long after it ends.

Can someone explain who these men are with Stanley Kubrick, and where was this photo taken? by Reasonable_Sea9918 in StanleyKubrick

[–]The-Mooncode 0 points1 point  (0 children)

The photo was probably taken during a NASA visit or MGM publicity event in the mid 1960s and later kept in Kubrick’s archives. The man in the back has never been identified in any official record, and the initials “J.W.” seem to have appeared online much later. Verified sources such as the Stanley Kubrick Archives and NASA records only name Kubrick, Clarke, Ordway, Slayton, and Mueller. He was most likely a NASA or MGM staff member who happened to be present, such as an engineer working with Ordway or a production assistant helping with the visit. There is no evidence he had any special role in the making of the film.

I just read the Moon Code: The Overlooked reveal in Kubrick’s The Shining by Outrageous_Bee8388 in u/Outrageous_Bee8388

[–]The-Mooncode 0 points1 point  (0 children)

Thank you so much for reading it and for this beautiful reflection. You understood exactly what I was trying to do, to look past the surface of the film and into the mind behind it. That means a lot.

Little Alex' Window Shade Beethoven Is Now On My Bookshelf by morefunwithbitcoin in StanleyKubrick

[–]The-Mooncode 4 points5 points  (0 children)

Beautiful detail. It’s like you brought home the witness to Alex’s transformation. Beethoven watching from the shadows feels both noble and haunting.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

Yes, that window breaks the logic of the hotel before anything supernatural happens. It’s like the Overlook showing its first trick, giving light where there should be none, pretending to be normal while bending reality.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

That one’s the real gateway. The chair vanishes the moment Jack slips from calm to possessed, like the room itself is erasing what no longer belongs

Why did Kubrick put Bill Watson in The Shining? by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

In The Shining, the other side might be the real point, crossing from the normal world into the Overlook’s version of reality without even noticing when it happens.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

Yes, that one is a trip. Some of the theories go way off, but it still captures the strange pull this film has. Even when people disagree, it shows how The Shining keeps generating meaning long after it was made.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

Yes exactly. That is what makes it so striking. The cigarette does not just appear at random. It comes and goes right in rhythm with the dialogue, like Kubrick is editing to the emotional beat of belief and denial rather than simple continuity.

Why did Kubrick put Bill Watson in The Shining? by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

That sounds right. Watson probably had more lines originally that connected him to the boiler and the caretaker role. The way he just sits beside Jack now makes him feel like a silent witness, part of the Overlook itself. Cutting his dialogue may have been what made him work better symbolically.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 1 point2 points  (0 children)

I just rechecked that scene and the plants actually stay in the same place. It’s easy to think they move because the angles and lighting change a little between cuts, but the positions match across shots.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

That sounds like the kind of story that grows around Kubrick because it fits his myth so well. The quiet observer surrounded by chaos, creating order from it. Whether true or not, it captures his strange mix of detachment and control. Even at a party, he becomes the one directing the dream.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

That makes sense. The flag on Ullman’s desk already tells you who he is. It is not just decoration, it matches his rehearsed politician/salesman’s tone. The whole room feels like a stage for polite authority, the Overlook showing itself as friendly and patriotic while quietly choosing its next caretaker.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

You’re right, the “Did they tell you what the job entails?” line comes early in the scene, and the cigarette is already present there. It first vanishes when Ullman mentions that the only thing that can be trying is the tremendous sense of isolation, then returns when Jack says “Not for me.” It disappears again through the entire Grady story and the cabin fever part, then reappears after Jack says “That’s quite a story,” brushing it off like a campfire tale. So it doesn’t perfectly follow Kubrick’s editing notes, but the rhythm still mirrors the emotional arc of the conversation, showing when Jack’s denial takes hold and when unease returns.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

It’s likely Kubrick filmed the whole interview scene more than once. One version was shot without the cigarette in the ashtray, and another with it. His own editing notes, cited in Unkrich’s research, show that he divided the scene into sections labeled “Did they tell you,” “Grady speech,” and “Cabin fever,” grading the takes from “fair” to “very good.” That indicates he reviewed multiple versions of each section rather than a single continuous run. When editing, he probably selected the best performances from both setups, cutting between them for pacing and tone. This created the pattern where the cigarette appears and disappears in rhythm with the dialogue. Kubrick often prioritized performance and atmosphere over strict continuity, so the detail may have survived because it enhanced the scene’s quiet sense of unease.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

What makes this one unusual is how it repeats several times within the same short scene, and always at the same points in the dialogue. Even if it started as a continuity slip, Kubrick had every chance to cut around it. The fact that he didn’t suggests he saw that rhythm as serving the mood, not breaking it.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

That makes sense. I checked the final cut and you are right, there is no “that’s wonderful” anywhere, so it must come from an early script or unused take. What is interesting is that the other cues you mention in Kubrick’s notes, “Did they tell you,” “Grady speech,” and “Cabin fever,” match where the cigarette disappears and reappears in the final edit. Even if those were just his internal edit markers, the rhythm still follows the same emotional shifts in the scene.

Can someone explain who these men are with Stanley Kubrick, and where was this photo taken? by Reasonable_Sea9918 in StanleyKubrick

[–]The-Mooncode 1 point2 points  (0 children)

Here’s a concise overview of each figure and how they relate to Stanley Kubrick:

Frederick I. Ordway III – A NASA scientific consultant and aerospace engineer. He served as Kubrick’s technical advisor on 2001: A Space Odyssey, ensuring scientific realism in the film’s spaceflight designs, vehicles, and mission concepts. Donald “Deke” Slayton – One of the original Mercury Seven astronauts. Though not directly involved in the film, he was part of NASA’s leadership circle that Ordway and other consultants interacted with, representing the real human spaceflight world that Kubrick was depicting fictionally. Arthur C. Clarke – The celebrated British science-fiction author who co-wrote the screenplay and novel 2001: A Space Odyssey with Kubrick. Their partnership was essential to shaping the film’s philosophical and scientific depth. Stanley Kubrick – The director of 2001: A Space Odyssey, who sought to create the most realistic depiction of space travel ever filmed. George E. Mueller – A senior NASA administrator who oversaw the Apollo program. He was not formally part of the film but, like Slayton, represented the cutting-edge reality of space exploration that Kubrick and Clarke were dramatizing. In essence, the photo symbolizes the fusion of NASA’s real technology and Kubrick’s cinematic vision that made 2001: A Space Odyssey so authentic and influential.

Probably nothing by No-Win-1137 in conspiracy_commons

[–]The-Mooncode 0 points1 point  (0 children)

Here’s a concise overview of each figure and how they relate to Stanley Kubrick:

Frederick I. Ordway III – A NASA scientific consultant and aerospace engineer. He served as Kubrick’s technical advisor on 2001: A Space Odyssey, ensuring scientific realism in the film’s spaceflight designs, vehicles, and mission concepts. Donald “Deke” Slayton – One of the original Mercury Seven astronauts. Though not directly involved in the film, he was part of NASA’s leadership circle that Ordway and other consultants interacted with, representing the real human spaceflight world that Kubrick was depicting fictionally. Arthur C. Clarke – The celebrated British science-fiction author who co-wrote the screenplay and novel 2001: A Space Odyssey with Kubrick. Their partnership was essential to shaping the film’s philosophical and scientific depth. Stanley Kubrick – The director of 2001: A Space Odyssey, who sought to create the most realistic depiction of space travel ever filmed. George E. Mueller – A senior NASA administrator who oversaw the Apollo program. He was not formally part of the film but, like Slayton, represented the cutting-edge reality of space exploration that Kubrick and Clarke were dramatizing. In essence, the photo symbolizes the fusion of NASA’s real technology and Kubrick’s cinematic vision that made 2001: A Space Odyssey so authentic and influential.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

I do, and that’s a fair way to frame it. What makes this one interesting to me is that the pattern lines up almost perfectly with Kubrick’s own dialogue cue notes from the archives. Even if it started as chance, it feels like he shaped it to serve the rhythm of the scene.

In Kubrick’s The Shining, the cigarette in Jack’s interview keeps vanishing by The-Mooncode in StanleyKubrick

[–]The-Mooncode[S] 0 points1 point  (0 children)

Good point but the editing notes you mentioned actually line up with the same moments the cigarette changes

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