From Hedge Maze to Haunted Halls: A Journey Through The Shining Filming Locations

Exploring every nook and cranny of Stanley Kubrick’s The Shining.

The Shining Filming Locations

Arguably one of the greatest horror movies ever made, 40 years since its release The Shining remains a chilling piece of cinema. Taking loose inspiration from the Stephen King novel of the same name, writer and director Stanley Kubrick’s adaptation is still the source of much discussion today.

I first saw the movie at age 12, having devoured every King book I could get my hands on, and fell in love with the film’s puzzle-like nature. Just what did the woman in Room 237 want? How did the hedge maze exist when we don’t see it in the opening shots of The Overlook? Part of those questions were answered, and many remain unanswered, as I researched the film’s extensive production in order to thoroughly report on its shooting locations. Working on this post reminded me that Kubrick’s 1980 film is indeed one of my favourites. So, join me for a deep dive into The Shining filming locations.

Where was The Shining filmed? 

Exteriors for The Shining were filmed at the Timberline Lodge, Mount Hood, Oregon, USA, Glacier National Park, Montana, USA, and EMI-Elstree Studios, Borehamwood, UK. Most of the interiors were lensed at the EMI-Elstree Studios with Stansted Airport, London, and the Royal Free Hospital, London the settings for two scenes. 

London Stansted Airport (STN), Bassingbourn Rd, Stansted, England CM24 1BA, United Kingdom

2950 Bixby Lane, Boulder, Colorado 80303

Going-to-the-Sun Road, West Glacier, Montana 59936

The Ahwahnee Hotel, 1 Ahwahnee Dr, Yosemite National Park, California 95389

Elstree Studios, Shenley Rd, Borehamwood, England WD6 1JG, United Kingdom

Timberline Lodge, Timberline Highway, Government Camp, Oregon 97028

Why these locations were handpicked for The Shining

With an eye towards authenticity, as part of the pre-production Kubrick sent location scouts across America to photograph a range of locales. Hotels, lodges, apartments, lobbies, ballrooms, hallways, bedrooms, even larders — according to Kubrick’s long-term assistant, Leon Vitali — every type of American space was documented in order to create The Overlook. 

This team included production designer Roy Walker, location researchers Katharina Kubrick, Jan Schulback, and Murray Close, and Vitali. 

After taking thousands of photos of “hundreds” of places, Walker returned to London and together with Kubrick they pored over the prints. From those images Kubrick curated a stylistic bricolage, blending rooms from different locations to create his singular vision for The Overlook. From the visual appendix he had amassed, he selected one location to represent the exteriors of the Overlook, and several to serve as the main interior inspiration. 

As opposed to designing the hotel from scratch, Kubrick chose to copy existing real-life places. Why spend time trying to create a realistic apartment if you can borrow from one, pluck it straight from life? His desire to anchor The Shining in everyday, almost humdrum locations made the horror illuminating, almost as if it didn’t belong. The way for him to truly tell a supernatural story was to try and present in the most realistic fashion.  

“It’s first of all silly to try to design something which everybody sees in real life and knows that looks slightly wrong,” he told El Pais Artes magazine in 1980. “So, things like those apartments and their apartment inside the hotel, which is so ugly, with this sort of lack of design, the way things actually get built without architects, is also important to preserve. 

“So those have to be carefully copied as well as the grander rooms, which are beautiful and where you want to preserve what the architect did. Certainly, rather than have an art director try to design a hotel for this, which I think is almost impossible without it looking like a stage set or an opera set, it was necessary to have something real.”

“Stanley liked to copy things, to be honest with you,” first assistant director Brian Cook told Justin Bozung in an interview for The Shining: Studies in The Horror Film. “He liked the real thing that he would see in the research. He liked to take sections from different locations and combine them.”

Primary The Shining filming locations

Before we dive in – with the exception of the airport, establishing shots, and the hospital from the deleted coda, everything else was shot at Elstree Studios. 

However, the inspirations for The Shining are worth exploration, as Kubrick replicated them faithfully, and to visit them would be like visiting The Overlook itself.

Jack’s drive to The Overlook – Going-to-the-Sun Road, Glacier National Park, Montana, USA

“It was important to establish an ominous mood during Jack’s first drive up to the hotel — the vast isolation and eerie splendour of high mountains, and the narrow, winding roads which would become impassable after heavy snow,” Kubrick recalled. 

Those opening shots, soundtracked by the baritone score’s sorrowful refrain, anchor the mood in the solitude of the mountainous landscape. 

Before this iconic opening was lensed, Kubrick tasked a crew led by Michael Stevenson with shooting test footage of the Colorado mountain passes, but the footage came back and those in attendance agreed it to be rather dull. Garrett Brown, the inventor of the Steadicam who shot several key set pieces for the movie, suggested Glacier National Park in Montana. 

Instead of sending out his usual crew, Kubrick hired helicopter pilot and cameraman Gregg MacGllivray, who came highly recommended by first assistant director Brian Cook for his expertise in aerial photography. Together with his crew, MacGillivray waited a month for perfect conditions to shoot the tracking shot of the Beetle as it made its way to the Overlook. 

Scenes filmed at Glacier National Park

  • Shots of Wild Goose Island and Saint Marie Lake
  • The long, winding drive up to the Overlook on Going-to-the-Sun Road.

Stories from the set

In order to capture the perfect shot, McGillivray promised Kubrick he’d only charge him for the days they actually shot footage – not the days they waited for the perfect weather. 

“I was elated, particularly because of one shot we’d gotten near the end of our shoot,” MacGillivray recalls in his memoir, excerpted by Surfer’s Journal. “The helicopter’s belly-mounted camera is flying low, skimming the mirror-smooth water of Saint Mary Lake, when it picks up and tracks with the yellow VW Beetle. 

We had rehearsed this shot every day for four mornings at daybreak, waiting for the perfect sunrise, the tree leaves to hit peak yellow, and glassy lake conditions. The shot lasted two minutes and was flawless from start to finish. Don’t walk away until it’s perfect? Indeed.”

Originally, Kubrick intended to include a scene of the Torrance family Beetle on the road when they return to the Overlook for the winter. This was a ground shot and included a trailer hitched to the Beetle which would’ve explained how they brought their luggage to the hotel. For these shots, MacGillivray’s crew served as stand-in doubles for the Torrances inside the car, but ultimately, Kubrick nixed the shot and opted to use additional footage from the opening sequence. 

A photo of the “Torrances”. Courtesy of Jeff Blyth via The Overlook Hotel.

That’s not the only unused sequence they filmed; they also shot a scene of Doc Hallorann swerving across the road as he receives visions from Danny.

This was lensed on the Pacific Coast Highway near Poche Beach, California which was meant to double for Miami. They used a stand-in for Scatman Crothers but, again, Kubrick decided not to use it. You can see some of this footage below.

Unused footage of Doc Hallorann’s car crash

The Overlook Hotel’s exterior – Timberline Lodge, Mount Hood, Oregon

The Timberline Lodge as The Overlook in The Shining

“There is, however, a genuinely frightening thing about this hotel which nestles high up on the slopes of Mount Hood,” Kubrick explained in an interview with Michael Ciment for his book Kubrick. “Mount Hood, as it happens, is a dormant volcano, but it has quite recently experienced pre-eruption seismic rumbles similar to the ones that a few months earlier preceded the gigantic eruption of Mount St. Helens, less than sixty miles away. If Mount Hood should ever erupt like Mount St. Helens, then the Timberline Hotel may indeed share the fiery fate of the novel’s Overlook Hotel.”

Built in 1937, the Timberline Lodge is located in Oregon, on the south slope of Mount Hood. The hotel was one of many locations photographed by production designer Roy Walker during the original scouting sessions. After analysing those photographs – and annotating them – Kubrick enlisted executive producer and brother-in-law Jan Harlan along with camera operator Douglas Milsome to capture footage of the Timberline.

For an in-depth look at our experiences visiting Timberline Lodge, read our review of the real-life Overlook.

The pair visited twice, once in winter when it was just the two of them along with a lad from Portland that Milsome hired to help move the equipment in the snow, and then again in summer with a much bigger crew that included Walker.

Scenes filmed at Timberline Lodge

  • The establishing shots of The Overlook
  • Dick Hallorann approaching The Overlook in the Sno-Cat

Stories from the set

During the winter shoot, Harlan and Milsome resided at the Timberline so they could rise early in the mornings to shoot on fresh snow. “Doug Milsome and I… we went down the back way so as to not leave tracks on the snow,” Harlan recalls in The Elstree Project’s documentary, Staircases to Nowhere: The Making of Stanley Kubrick’s The Shining.

“We each had a bedroom that faced the front and we were able to put very strong lights in the  windows. They were the only rooms lit in the whole hotel.” Kubrick even pointed out which rooms should be lit:

Stanley Kubrick's directions for the second unit crew filming establishing shots of The Timberline
Kubrick’s annotations for the second unit crew. Courtesy TASCHEN/The Stanley Kubrick Archives.

Harlan continues: “So you go down at night and you get into position and you wait for enough light to get an exposure at F2, and then you shoot it…. Everybody else in the hotel was asleep. That was a typical thing, we did that many times.”

The pair filmed Hallorann in the Sno-Cat (likely one of them driving it) along West Leg Trail leading to the Timberline, and the Sno-Cat’s final approach at the Overlook. “You had extra lights in front of the Sno-Cat to give you an exposure of the trees and you see the sno-cat arriving and again, in our bedroom, the lights…. It’s the rawest form of filmmaking.”

In an interview with Justin Bozung for The Shining: Studies in The Horror Film, Milsome recalls the pair shot the scenes of the Beetle arriving at the Timberline, a feat accomplished with a camera hoisted up on a crane. “I shot the yellow beetle arriving at the hotel basically by putting the camera up on a crane that was about ninety feet up in the air. It was a big ol’ cherry picker and we stuck the camera up on that and got that Beetle pulling into the hotel.” 

Arguably the biggest piece of lore around the Timberline is the request from management— they asked to change room number 217. “It had a room 217 but no room 237,” Kubrick revealed to Ciment. “So the hotel management asked me to change the room number because they were afraid their guests might not want to stay in room 217 after seeing the film.” 

Room 237 is now one of its most requested rooms. 

The Overlook Hotel’s exterior – EMI-Elstree Studios, Borehamwood, London

The Overlook exterior under construction on the Elstree Studios backlot. Courtesy Elstree Studios.

While the entirety of The Overlook’s interiors were shot on soundstages at Elstree Studios, Borehamwood, so were scenes outside of the hotel. Due to Kubrick’s distaste for flying he still wanted to direct first unit action of the actors in key scenes at The Overlook. So Kubrick asked the studio to tear down a long-standing street set to accommodate a complete exterior recreation of the Timberline Lodge. 

This construction involved making an entire facade of the hotel’s front exterior along with a partial hedge maze– this can be seen in the scene where hotel manager Stuart Ullman shows the Torrances around the property. 

Scenes filmed at Elstree

  • Ullman showing the Torrances the Overlook, the Sno-Cat
  • Wendy and Danny running from the hotel to the Maze
  • The entrance to the maze 

Stories from the set 

To create the feeling of vast forestry surrounding the hotel, further accenting the isolation, the crew planted small pine trees on the hills to make the horizon seem further away. This created a forced perspective. In reality, a housing estate was just past the tree line. For later scenes during the winter, set dressers covered the entire facade with fake snow and icicles.

The Overlook dressed in snow on the Elstree back lot. Courtesy of American Cinematographer.

The Overlook Hotel’s interiors – EMI-Elstree Studios, Borehamwood, London

The Overlook hotel interior built at Elstree Studios
The Overlook’s Colorado Lounge built at Elstree Studios.
The Ahwahnee Lodge’s great lounge. Courtesy of David Berry.

“I think that in the sets it’s very important they just be very real,” Kubrick told Vicente Molina Foix in a 1980 interview. “Every detail in those sets comes from photographs of real places very carefully copied.”

Take a visit to the Ahwahnee Lodge in Yosemite National Park and you might pinch yourself. Or, you know, run for the hills screaming. The Overlook’s interiors are lifted heavily from the Lodge’s aesthetic. As mentioned above, Kubrick felt it pointless to design what already existed, so tasked Walker and his scouts with finding suitable spots, with a desire for The Overlook to “look authentic rather than like a traditionally spooky movie hotel. The hotel’s labyrinthine layout and huge rooms, I believed, would alone provide an eerie enough atmosphere.”

Part of that authenticity hails from the meticulous documentation carried out by the scouts, one of whom was art director, Les Tomkins. In an interview with Justin Bozung for The Shining: Studies in The Horror Film, he recalled: “Stanley sent me to the Ahwahnee Hotel… Stanley told me ‘Don’t tell them why you’re there. Just go and measure everything as much as you can and take photographs.’ So I was working undercover a bit. I was there pretending to be a tourist, and when no one was around I’d pull out my tape measure and measure a doorway…. I measured the interiors of the elevators at the hotel as well.”

Those measurements were sent back to the production team, who created scale sets based on the designs before creating lifesize versions that were filmed in the finished movie. 

The Ahwahnee Lodge lobby. Courtesy Myrna Litt.

Arguably one of the film’s most famous scenes, where Jack is taken aside by Delbert Grady to clean up, takes place on a set inspired by a toilet designed by a cohort of Frank Lloyd Wright. The Arizona Biltmore was designed by Albert Chase McArthur with Wright on hand as consultant (he is erroneously credited by Kubrick as its architect.) 

This garish red bathroom is an interesting choice –- and proof of Kubrick’s bricolage style – as in the film, it appears to be connected to the Gold Room. The ornate ballroom is kitted out in thousands of glinting lights, a decadent space honouring the 1920s… and yet, the toilet is a stark contrast.

Potentially part of Kubrick’s desire to make audiences feel on edge. But, ultimately, his decision came down to one simple fact: “Why try to design a toilet when you not only have a real toilet with all the proportions right, but an interesting toilet too?”

Amid the location scouting materials housed at the Stanley Kubrick Archives in London is a photograph of the piano lounge of the RMS Laconia by photography house Stuart Bale. I’ve searched the Bale archives online, housed at Liverpool, to try and source this image as I suspect the Gold Room or the Overlook’s corridors are modeled after it. They bear a distinct similarity to a maritime vessel.  

Many The Shining fans have pondered the decisions Kubrick made in terms of location and set designs. How the placement of certain artwork or canned goods might have played a role –-it’s the inspiration for the divisive documentary Room 237 but the truth is, he didn’t choose any of them out of a desire to reflect some intrinsic, hidden meaning. He simply liked the way they looked. 

Discussion concerning Kubrick’s intentions with regards to the imagery, the artwork, the interior design and decor of The Overlook ….But, according to assistant director Brian Cook, most of the things he selected? “It really didn’t have any meaning. You see that imagery in the hotel because we had seen that Indian imagery in the research photographs that Roy Walker and his team had taken in America.”

But the really eerie twist about the Ahwahnee? Its architect, Gilbert Stanley Underwood, who mostly worked with the National Parks Service, also created the preliminary sketches for the Timberline Lodge, Oregon. 

Scenes filmed at Elstree

  • The Overlook Hotel’s interiors 
  • Dick Hallorann’s Florida apartment
  • Durkin’s gas station (not in international versions)
  • National Park Forest Service ranger’s office
  • Interior of Hallorann’s plane

Stories from the set

The Colorado Lounge features heavily in the film, the room where Jack hammers away at his typewriter and later, threatens Wendy for daring to bring him a sandwich. This leads to one of the film’s highlights, as Jack stalks Wendy up the stairs, and she rightfully thwacks him with a baseball bat. This set looks like a real hotel – because it wasn’t cobbled together as a shoddy facade.

“It was like it was a real building,” camera operator Ray Andrew told Justin Bozung in an interview for The Shining: Studies in The Horror Film. “It wasn’t made with wood like a set might normally be made from. The ceilings were made with proper plaster too. It was just like a real hotel.”

To replicate the look of natural light pouring into those floor-to-ceiling windows, Kubrick and the director of photography John Alcott rigged a huge bank of lights – around 800 photo flood bulbs, according to Andrew – that emitted around 150 watts and a lot of heat. It was the heat from these lights that eventually caused a fire which burned down the entire Colorado Lounge set. Luckily, the majority of filming on that stage had wrapped.

The Overlook hedge maze – EMI-Elstree Studios, Radlett Aerodrome, Borehamwood

The crew film Wendy and Danny entering The Overlook's hedge maze
Courtesy Jim and Ann Lloyd, Warner Bros, via The Guardian.

Part of either a huge oversight, intentional misdirect, or – the most likely option – Kubrick’s lack of interest in continuity, the hedge maze around which the film’s finale revolves, isn’t visible the first time we see The Overlook. 

Kubrick and co-writer Diane Johnson’s creative process led them to repurpose the topiary animals from King’s novel into the hedge instead. Johnson discussed the topic with Entertainment Weekly, confirming that the maze chase sequence was inspired by those privet creatures. “Kubrick thought topiary animals might be too goofy and cute, but he always liked the idea of a maze.”

Nevertheless, the resultant maze provided the backdrop for several standout sequences in the movie. The summer mazes, which were mostly leaves, were constructed from pine boughs affixed to plywood frames.

Scenes filmed at Elstree and Radlett

  • Summer maze (Outdoors at Radlett Aerodrome)
  • Summer maze directly outside The Overlook (Elstree backlot)
  • Winter maze (Elstree stage 1)

Stories from the set

Jack Nicholson in the snowy Overlook hedge maze
Courtesy of Matthew D. Dalton, Warner Bros, via The Guardian.

The conditions for cast and crew while shooting the maze sequences has frequently been described as somewhat torturous. While the summer mazes presented their own challenges – mainly, the crew getting lost in there, including Kubrick himself – the snow-covered maze proved the most diabolical. 

“Roy Walker’s men proceeded to “snow” it in with two feet of dendritic dairy salt and Styrofoam snow crusted on the pine boughs,” Steadicam operator Garrett Brown recalled in American Cinematographer. “The quartz outdoor-type lights were turned on and a dense oil-smoke atmosphere was pumped in for eight hours a day. Now the Maze became an unpleasant place in which to work. It was hot, corrosive and a difficult spot in which to breathe.”

The dairy salt poured over the styrofoam burned through people’s shoes. “The maze on the soundstage with the snow… That was a terrible set to work on,” mused art director Les Tomkins. “The set was snowed up with formaldehyde and salt. It gave off a lot of fumes.”

Deleted hospital epilogue – Royal London Free Hospital, London

One of the most talked-about scenes in The Shining isn’t even in the movie. While many scenes were excised from Kubrick’s final cut, one made it to screens before its removal. Following Wendy and Danny’s escape from The Overlook, the original film which was shipped to theaters, included a brief coda that shows the pair recovering in a hospital. 

“It was done on location at an actual hospital,” recalls Robin Pappas in an interview for The Shining: Studies in The Horror Film. The actress plays the nurse whose name remains in the closing credits despite not appearing in the movie at all. “They rented out the entire floor. There were no patients in any of the rooms on the floor. I was driven there in the middle of the night to work.” 

Scenes filmed at Royal London Free Hospital

  • The entire hospital epilogue of Wendy and Danny in hospital, when Ullman pays them a visit

Stories from the set

For those who caught the film in theaters that opening weekend, the highly sought-after hospital coda was included, albeit briefly. Julian Senior, the film’s publicist, watched the movie with Kubrick after it had been shipped to the US for its premiere weekend. Senior told Kubrick he felt that the final two minutes detracted from the power of the ending. “It should end on Jack Nicholson, frozen in the maze,” he recalled in The Elstree Project’s documentary, Staircases to Nowhere: The Making of Stanley Kubrick’s The Shining

“Film went off to the States, opened on the Thursday, on the Friday morning Stanley called me ‘Can you get an editor? I want to cut the film.'” And so they hired an editor to visit every theater screening the movie and snipped the two-minute hospital scene. 

According to the editor, Jay Friedkin, Kubrick watched versions of the movie with and without the ending and noticed a distinctly different reaction from audiences. “He said that when the hospital scene was cut out, there was a buzz in the room. People were jazzed up. Some applauded and they stayed through the whole credits. When it was in, the audience kind of quietly left the film throughout the credits. So he just felt like it did the wrong thing.”

This is a curious tidbit as Kubrick was in England – perhaps he was referring to Kubrick attending screenings in the UK. Nevertheless, for a glimpse into what it would have looked like, check out the video below: 

The Torrance apartment exteriors – Kensington Apartments, 2950 Bixby Lane, Boulder, Colorado

The Shining's exterior location of the Torrance apartment

This establishing shots of the Torrances apartment were captured by a second unit team. While I’ve yet to find confirmation, I suspect this was Gregg MacGillivray’s crew who Kubrick tasked with filming extra footage around this area.

Denver Stapleton Airport – Stansted Airport, London

A brief scene of Hallorann on the phone at Denver airport chatting to Larry Durkin, at a garage, was filmed on location at Stansted Airport just north of London. This is nixed from the European cut, along with another 20 minutes of footage.

Scenes filmed at Stansted Airport

  • Dick Hallorann on the phone to Larry Durkin

Stories from the set

According to ShiningSets, the scene was filmed at an old terminal which is now owned by Harrods Aviation. In addition, the next scene which shows Hallorann in a car driving back to The Overlook and spotting a red beetle in a car accident with a Mack truck was shot on the lot at the Radlett Aerodrome. 

Visiting The Shining filming locations

Glacier National Park, Montana 

Photo by Daniel Crowley on Unsplash

When to visit 

According to the National Parks Service, the best time to visit Glacier National Park is June to September. 


Entrance Fees: The fee for a vehicle reservation is $2. A seven-day vehicle pass costs $35 in summer/$25 in winter. If you’re planning to bike Going-to-the-Sun Road, a seven-day pass is $20 per person in summer/$15 in winter.

Camping Fees: The park offers a variety of campgrounds and reserving a spot at in advance is highly recommended due to spotty cell service throughout the park. They cost between $10 and $23 per night, depending on the site.

Access information

Location: Glacier National Park is situated in Montana’s Rockies and borders Canada’s Alberta and British Columbia. 

Road Access: In order to drive the Going-to-the-Sun Road, you need a reservation in advance which gives you three consecutive days of access. In fact, if you’re visiting between May and September you need to make a vehicle reservation to enter the park at any point between 6am and 3pm. Payment also includes access to plenty of other areas of the park! Make sure to check when the road is passable if you want to recreate the Torrances drive; the Parks service outlines that the road isn’t even open fully until June.

Public Transportation: If you don’t fancy driving the route Jack takes, you can hop on the Going-To-The-Sun shuttle bus service. This is only operational during the summer months from July 1 to Labor Day weekend. 

Airports: The closest major airport is Glacier Park International Airport in Kalispell, Montana. From there, visitors can rent cars or use other transport services to reach the park.

Rail: Amtrak’s Empire Builder train line has stops at both East Glacier and West Glacier, providing another unique way to access the park. The line originates in either Portland or Seattle so you can journey from either locale in the Pacific Northwest direct to the park.

Timberline Lodge, Oregon

Photo courtesy of Timberline Lodge

When to visit

It depends on what else you’d like to do at Timberline. Summer months are popular for trail hiking and they’ll more closely resemble The Shining from the beginning of the movie. However, if you’re a fan of its finale, the winter is the best time to pay a visit. 


Lodge Accommodations: Timberline Lodge offers a range of accommodations, and prices vary depending on the type of room and the season. It has last-minute discounts on rooms as well, which are worth investigating before you book!

Lift Tickets: For those looking to ski or snowboard, lift ticket prices vary based on age, duration (half-day, full day, multi-day), and the season. 

Other Activities: Some activities at or near the lodge have separate fees. This includes guided tours, special events, or recreational activities.

Access information

Location: Timberline Lodge is located on the south side of Mount Hood in Oregon, about 60 miles east of Portland.

Road Access: The primary route to the lodge is via US-26 (also known as the Mount Hood Highway). Roads are generally well-maintained, but during the winter, conditions can be challenging due to snow and ice. It’s recommended to have chains or a 4-wheel drive vehicle during the winter months. Always check road conditions before your trip.

Public Transportation: While there’s no direct public transportation to the lodge, several shuttle services and tour companies operate from Portland and other nearby cities to Timberline Lodge. The Mount Hood Express offers a park and ride service with no cost to park at several locations in Sandy, OR (just east of Portland) and a $2 fee each way. Also recommended is Oregon’s trip-planning service Get There.

Parking: There’s a parking lot at Timberline Lodge for guests and visitors. During peak seasons or events, it can fill up quickly, so arriving early or considering alternative transportation is helpful. 

Elstree Studios, London

Elstree Studios, London
Image courtesy of Elstree Studios

When to visit

Tours: Unfortunately, there is no public tour available for Elstree Studios, but you can book tickets for a live taping at the studio when they arise. 


Television Show Tapings: Generally, tickets for TV show tapings are free, but they’re often in high demand. It’s recommended to book well in advance and always confirm details with the specific show’s ticketing provider.

Access information

Location: Elstree Studios is located in Borehamwood, Hertfordshire, which is just north of London.

By Train: The nearest train station is Elstree & Borehamwood, which is on the Thameslink route. From the station, the studio is about a 15-20 minute walk or a short taxi ride.

By Car: The studio is easily accessible by car, being close to the M25 and A1 motorways. There is no parking available on site so you’d have to find a nearby parking lot.

Public Buses: The 107 and 292 bus lines serve the Borehamwood area and have stops near Elstree Studios.

By Air: The nearest major airport is London Heathrow, from which you can take a train or car to reach Borehamwood.

Kensington Apartments, Boulder, Colorado

Kensington Apartments, Boulder
Image courtesy of VeryApt

Access information

Location: The Kensington Apartments are located at 1950 Bixby Lane in Boulder, Colorado, one block from the University of Colorado Boulder. 

By Car: The apartments are a short distance from highway US-36.

Public Transportation: The Denver RTD app can help plan transport once you’re in the city area. 

Tell us about your visit to The Shining filming locations

That’s all here for now but let me know if you’ve visited any of The Shining filming locations, or if you have insider information on any of the other set inspirations. I’m honestly desperate to know where the bathroom in Room 237 is modeled after… or those haunting hallways.

Librarian by day and scribbler by night, Gem Seddon is a Seattle-based freelance entertainment writer with bylines at Vulture, Digital Spy, TechRadar, Regal Cinemas, Total Film, and more. Gem especially loves writing about horror movies. When not visiting her native England, she enjoys traveling to spooky film locales. Alien and Scream are tied as her all-time favourite movie – please don't make her choose.

2 thoughts on “From Hedge Maze to Haunted Halls: A Journey Through The Shining Filming Locations”

  1. It’s nice that a section for comments was added at the end of this very interesting and informative article. I immediately scrolled down to read what travelers had to say about their experiences. Unfortunately, none are available. I’m not sure if it is a problem with my browser, Netscape Navigator, or if it’s simply that no one has bothered to comment yet. If that’s the case, I hope there will be comments in the near future.

    I myself have not seen any locations from The Shining, and most likely will not have the opportunity as I have IBS and Crohn’s disease, which keep me close to home at all times. I learned the hard way about being adventurous whilst plagued with these problems, which ended up in a dreadful and embarrassing mess. It was over a decade ago. The family and I decided to visit the second largest ball of twine in the world, located in Possumneck, Mississippi. It was either the high fiber indigenous foods we tried as we drove through a reservation, or the greasy Mexican food at several of the many rest stops. But whichever it was, our adventure ended. And fast. What was I thinking?

    Lesson learned.

    Phillis A Winterford

    • I’m so sorry to hear that you’re kept close to home due to your IBS and IBD; I have ulcerative colitis and experience great anxiety on almost every road trip. It’s difficult to handle but I try and work with medications and other aids that enable me to try – being the operative word – and get out into the world. Please keep me posted if you ever do manage to venture out there!



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