Elstree Calling
An unofficial website dedicated to Elstree Studios
Adam Unger Interview:
Adam Unger first worked at Elstree Studios in 1978 as an assistant editor on the Stanley Kubrick film, The Shining. I talked to him about his memories and experiences while filming:
Paul: What do you remember of the sets built at Elstree for The Shining?
Adam: Many were built on large scale, utilising the entire area of the stage. I particularly recall the ballroom set on Stage 5, which was matched by the lobby of the Overlook Hotel on Stage 3.
It was Stage 3 that was the scene of a dramatic fire towards the end of shooting, which destroyed the entire set and stage. Having been on the set a few days before, it was a shock to see it all gone.
Amazingly, the fire was neatly confinded within the stage and furtunately for the production, shootoing had mainly been completed. As I recall, the probable source of the fire was from the huge bank of lights behind backing sheeting which illuminated the large windows of the hotel set. The stage was rapidly rebuilt soon afterwards.
The exterior of the Overlook was built on the large back lot, where the snowstorm was dramatically recreated.
Paul: What are your recollections of the staff at the studios?
Adam: The permanent staff were very helpful, many of whom had been there for several years. The dubbing theatre was run by the chief sound mixer, Bill Rowe, who won many awards for his work.
Dubbing theatres tend to be quite utilitarian spaces, but Elstree had a Thirties cinematic feel about it with period club-style armchair seating.
Paul: What other memories do you have of working on The Shining at Elstree?
The cutting rooms were situated in the offices behind Stages 7, 8 & 9, overlooking the covered way. The Preview Theatre on the same floor was for the exclusive use of the production and was where rushes were viewed at lunchtime.
Paul: What were your feelings on teh loss of such a historic part of the complex in the early Nineties?
Adam: I was very sad to see what was essentially the core part fo the studios demolished, having serviced so many famous films in the past, which included some of the oldest buildings on the site. The loss of the large stages meant a reduction in film-making capability in the UK. On a human level, many of the long-serving staff lost their jobs.
Paul: How would you sum up how you feel about Elstree Studios, past and present, and what are our hopes for its future?
Adam: I am pleased I had the opportunity of working there on various productions in what was a friendly, studio environment. It is most fortunate that the entire site was not lost for redevelopment, thanks to the timely intervention of Paul Welsh and the council.
It is good to see how commercially vable the exsisting studio has proved itself in attracting work, and that it has developed and adapted to meet the current demands of TV and film-making.
As for the future, let's hope whoever takes on the studios in the long term will attract the current level of work and seek to invest in the studios.
My special thanks goes to Adam Unger for his time and help. You can view some of Adam's photos which he took during the demolition of part of the studios' site in 1991 here.
Vid. Cap.: The Shining
Please click the following link to buy: The Shining
© Paul Burton 2008
Please do not use any part of this interview without first contacting Paul Burton to request permission.