With “Pines,” because I was telling a linear story and it was all about these people living in this same place, the city of Schenectady, New York, very early on Sean Bobbitt and I decided that it would be a unified vision, that we weren’t going to deal stylistically with different worlds. So in terms of the aesthetic approach of the film, in terms of formats, in terms of how we approached our scenes, we wanted to make a film that was more about echoes of the past and the repetition of actions and the consequence of those actions. And so we decided to shoot it all in the same kind of visual language, and the only thing that’s different, that changes, is the location, because this movie is also about class, social structures that people are born into.
The layout of the hotel makes no sense whatsoever. Stuart Ullman’s office has a nice big window in the middle of the building, the Colorado Room has multiple floor to ceiling windows with a mystery hallway behind them. There’s hallways that lead into walls, windows that can only be seen from inside, hotel rooms that seem to overlap the same space, the hotel interiors have nice right angles while the outside doesn’t. The freezer flips sides of the hallway between shots. The spaces between the doorways in Room 237’s hallway are far too small to actually contain any rooms of that size. This was done deliberately for dramatic/horror effect.
kind of hate how capitalism has trained me to believe that having free time is a bad thing and that i need to be constantly doing something to make my existence worth anything