Courtesy of Warner Bros. Pictures
Now playing in theaters, Doctor Sleep is a strange beast, indeed. The film, written and directed by Mike Flanagan (Hush, The Haunting of Hill House), serves as a direct sequel to The Shining—both the novel by Stephen King and the subsequent film adaptation by Stanley Kubrick.
Now, any King fan worth their redrum is aware of the fact that the famed horror author was not a big fan of Kubrick’s interpretation of his book, which tells the story of Jack Torrance, a man who slowly loses his mind and tries to kill his wife and child while taking care of a haunted hotel for the winter.
Despite King’s dislike of The Shining movie, it still became an iconic cornerstone of horror cinema thanks to quotable dialogue (“Heeeeere’s Johnny!”) and an ominous score of curated/augmented music by Wendy Carlos and Rachel Elkind.
Seeking blessings from Stephen King and Kubrick’s estate, Flanagan set out to make a hybrid follow-up, which meant his composers—The Netwon Brothers—also had to reference two different sources when it came to the soundtrack.
“We watched [The Shining] exhaustively,” said Andy Grush, one half of the Newton duo. “We watched it, we took notes, we re-read the original Shining book and Doctor Sleep. It got to a point where we had little colored tabs in the book that we would use to take notes. A lot of the ideas for the score had to be done while Mike was shooting the film, so we wanted to dive in early on and start coming