The audition process was a little bit unconventional, because the audition material that my agent sent me and what I prepared for when I went in was for a demon. I played the demon kind of nasty, kind of snarky, a little sarcastic, and [series creator] Eric Kripke said, “Great. That was a really good demon, but the truth is this role is for an angel. We’re just trying to keep under wraps that we’re introducing an angel to the series, so that’s why we sent out material for a demon.” So he gave me some adjustments, and I executed them to his satisfaction evidently, because I got the part. (via buddytv; sides via missyjack of SupernaturalWiki)
n. the sense that the future is arriving ahead of schedule, that all those years with fantastical names like ‘2013’ are bursting from their hypothetical cages into the arena of the present, furiously bucking the grip of your expectations while you lean and slip in your saddle, one hand reaching for reins, the other waving up high like a schoolkid who finally knows the answer to the question.
It’s hard not to marvel at the crimson glow of 1966 science.
Before the digital revolution converted complex workspaces into flat-screen monitors and unobtrusive computers, the control rooms of big experiments were the ultimate in analog awesome. Our Alternating Gradient Synchrotron—still accelerating particles here at Brookhaven after 53 years—featured just such an array of custom-built electronics.
Just look at all those knobs, dials, and oscilloscopes.
According to King, Kubrick, looking for a supernatural subject, chose The Shining after buying stacks and stacks of books. He would sit down with them in his office, read the first two or three pages of each book, and then fling it across the room against the wall. Kubrick’s secretary was in the outside office listening to this series of thumps. One day the thumps ceased; his secretary listened for a while, puzzled, and then went in. Kubrick said, “This is it.” He was reading The Shining…
…Once ensconced at Elstree, Kubrick colonized the studio in the way—and for the length of time—that he, virtually alone among modern filmmakers, has the power to do. He held on to sound stages while The Empire Strikes Back, the Star Wars sequel, waited patiently for access. He built the entire maze on the Elstree backlot, as part of the grounds abutting the giant façade of the hotel, and he also made a smaller scale maze for overhead camera shots.
To simulate snow for midwinter scenes, he covered the backlot with white salt, from whose defoliating effects the Elstree soil is still struggling to recover.