Secrets of The Shining

On Monday 1 April I had the interesting and enjoyable experience of being interviewed on the BBC Radio 4 Film Programme (to be broadcast on Thurs 11) about my work as music editor on Stanley Kubrick’s The Shining in the spring of 1980.

Despite my suffering from a hip problem (shortly to be replaced), all went well and at the end of the recording both the presenter, Antonia Quirke, and film music expert Neil Brand, clapped.

Headphones on, all ready to go. Gordon about to be interviewed by Antonia Quirke and Neil Brand on 1 April 2019 at BBC Broadcasting House. Producer Stephen Hughes in left foreground. Photo: Freda Raphael

The interview lasted for well over an hour, only about 12 minutes of which got into the broadcast, which went out on Thursday 11th April at 4.00 pm. However, my section of the programme in the podcast version which is available on the BBC Radio 4 website, is over twice as long.

For ease of access I’ve put a link to the podcast here:

Paul Laverty_ From Daniel Blake to Carlos Acosta; Secrets of The Shining

The ‘Secrets of The Shining’ section runs from 13:19 to 39:36.

Or: you may download the podcast directly from the BBC Radio 4 website.

Stanley Kubrick’s Childwickbury in Hertfordshire. The Victorian stable block, where I did the initial listening and selecting of all the music, is on the left. The editing team, under Ray Lovejoy, moved back to Elstree Studios, about 8 miles away, in April 1980. (The dubbing editors, under Win Ryder – dialogue and effects – had already been established there for many weeks.) @ Jack Elliott Hobbs (Stanley’s grandson, I believe)
The nondescript and secretive building at Elstree Studios where Stanley had his cutting rooms, and where I laid the music tracks. Entry was by the bright red door. It either had no notice on it, or simply said ‘Hawk Films’. Vivian’s cutting room where we edited her documentary ‘Making the Shining’ was behind the big windows top right. (The Overlook Hotel’s kitchen set was created here before it was turned into a cutting room.) Stanley’s cutting room was in a corresponding position at the rear of the building. All the sound editors (apart from me, music), a team of six, were in a completely different cutting-room block. The wonderful dubbing theatre, then state-of-the-art in the UK, was behind and right of the trees in the background here, now sadly under a Tesco carpark. Photo: Freda Raphael, 2015


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