- sext: Son, we live in a world that has walls and those walls need to be guarded by men with guns. Who's gonna do it? You? You, Lieutenant Weinberg? I have a greater responsibility than you can possibly fathom. You weep for Santiago and curse the Marines; you have that luxury. You have the luxury of not knowing what I know: that Santiago's death, while tragic, probably saved lives and that my existence, while grotesque and incomprehensible to you, saves lives. You don't want the truth because deep down in places you don't talk about at parties you want me on that wall, you need me on that wall. We use words like honor, code, loyalty. We use then as the backbone of a life trying to defend something. You use them as a punchline. I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom I provide and then questions the manner in which I provide it. I would rather you just said "thank you," and went on your way. Otherwise, I suggest that you pick up a weapon and stand a post. Either way, I don't give a damn what you think you are entitled to
“I think I knew the power of my smile by the time I was five or six. Once I started looking at myself, though, I thought “I’ve got to keep my lips closed. Otherwise, I look like an inebriated chipmunk.” - Jack Nicholson
Stanley Kubrick directs Jack Nicholson on the Gold Room Bar set of The Shining.
Anjelica met Jack at a party at his house in Los Angeles.
“I was invited by my then stepmother, Cici. The door opened and Jack’s grinning face presented itself to me and I thought: Ah, I like you.”
Jack Nicholson as J.J. Gittes, Chinatown (1974) — Steve Schapiro
Jack Nicholson preparing for the famous ax scene.
The Shining (1980)
This. Is. Incredible.
If I ever had the opportunity to go batshit fucking crazy with an axe YOU BET YOUR ASS I’D DO THIS EXACT SAME THING
i like how shes just like “bye”
On “Closing Day” in The Shining, when Jack is sitting and waiting in the lobby for Stuart Ullman and Bill Watson to give him a tour of the hotel, he’s inexplicably reading a copy of Playgirl Magazine.
The issue he’s reading is from January, 1978, which would have come out near the beginning of the film’s production. Some might posit that this is a prank on Jack Nicholson’s part, but that’s highly unlikely given the degree of control Kubrick had over every image in The Shining.
The choice of this particular issue is interesting for three reasons: First, the cover image is portraying a couple winding down from a New Year’s Eve celebration, which relates to the Gold Room’s 1921 New Year’s Eve Ball. Second, the cover image’s prominent use of a mirror, which ties in neatly to the pervasive use of mirrors throughout the entire film. Finally, one of the cover articles is about sexual abuse of children, specifically, incest. There are many people who believe that Jack Torrance’s abuse of Danny went beyond breaking his arm. Kubrick has never spoken about this topic specifically, although in an interview with Michel Ciment, he references Danny’s “frightening and disturbing childhood,” as well as Danny having been “brutalized by his father”.
As with nearly everything Kubrick chose to include in The Shining, the presence of this magazine is open to speculation – yet there are no concrete answers.
Never-before-published behind-the-scenes photo of actor Jack Nicholson posed for his final moment frozen in the snow. This side angle reveals the crude bracing system of wood and styrofoam that was built to hold Nicholson as still as possible for the lengthy shot.
(photo courtesy Prop Store)
