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.
During rehearsals, Brad Pitt and Edward Norton found out that they both hated the new Volkswagen Beetle with a passion, and for the scene where Tyler and The Narrator are hitting cars with baseball bats, Pitt and Norton insisted that one of the cars be a Beetle. As Norton explains on the DVD commentary, he hates the car because the Beetle was one of the primary symbols of 60s youth culture and freedom. However, the youth of the 60s had become the corporate bosses of the 90s, and had repackaged the symbol of their own youth, selling it to the youth of another generation as if it didn’t mean anything. Both Norton and Pitt felt that this kind of corporate selling out was exactly what the film was railing against, hence the inclusion of the car; “It’s a perfect example of the Baby Boomer generation marketing its youth culture to us. As if our happiness is going to come by buying the symbol of their youth movement, even with the little flower holder in the plastic molding. It’s appalling to me. I hate it.”
“While we’re looking at people, let’s look at Betty. She and Bogie seemed to have the most enormous opinion of each other’s charms, and when they fought it was with the utter confidence of two cats locked deliciously in the same cage.”—Katharine Hepburn