In 1980, while promoting his film The Shining, Stanley Kubrick gave a rare interpretation of one of his movie endings — in this case the 1921 photo at the end of the film that suggested that Jack Torrance (played by Jack Nicholson) had been part of the Overlook Hotel for decades. “The ballroom photograph at the very end,” Kubrick said, “suggests the reincarnation of Jack.”

This year, Kubrick is experiencing a reincarnation of his own. The enigmatic director is resurfacing on big screens and small:

In November, the film Doctor Sleep, an adaptation of Stephen King’s sequel-novel to The Shining, hits theaters — along with some of Kubrick’s most iconic images from his controversial interpretation of King’s first book.

Kubrick enjoyed a resurgence on the internet this summer, as the Apollo 11 mission celebrated its 50th anniversary and conspiracy theorists resurfaced en masse to suggest that Kubrick staged a fake moon landing and admitted as much in subtle clues from The Shining.

The film Ready Play One — which Indiewire called “Steven Spielberg’s Epic Tribute to Stanley Kubrick” — enjoyed a healthy run on video shelves. The film, which featured detailed Shining scene reenactments, spent two weeks at No. 1 for video sales and collected more than $31 million.

Kubrick, Walt Disney and Stan Lee were inducted this year into Hollywood’s Visual Effects Society Hall of Fame for their “profound impact on the field of visual effects.”

Of all the reincarnations, Doctor Sleep has to be the most intriguing. While the studio and author have said that Sleep is a faithful adaption of King’s book, the movie clearly borrows from Kubrick’s masterpiece (which King famously hated, and later produced a TV miniseries in response). Speaking to reporters earlier this summer, director Mike Flanagan explained the tightrope act of blending two classics, along with his nerves about bringing up the film to King.

“When it came to trying to crack the adaptation, I went back to the book first,” said Flanagan, who previously directed the well-received King adaptation Gerald’s Game. “The big conversation that we had to have was about whether or not we could still do a faithful adaptation of the novel as King had laid it out while inhabiting the universe that Kubrick had created. And that was a conversation that we had to have with Stephen King, to kick the whole thing off, and if that conversation hadn’t gone the way it went, we wouldn’t have done the film.

“Stephen King’s opinions about the Kubrick adaptation are famous, and complicated, and complicated to the point where, if you’ve read (Doctor Sleep), you know that he actively and intentionally ignored everything that Kubrick had changed about his novel, and kind of defiantly said, ‘Nope, this completely exists outside the Kubrick universe.’” Flanagan said.

“We really needed to try to bring those worlds back together again. We had to go to King and explain how… and in particular how to get into the vision of the Overlook that Kubrick had created. And our pitches to Stephen went over surprisingly well, and we came out of the conversation with not only his blessing to do what we ended up doing but his encouragement.”

But it came with an emotional cost, the director explained. “This project has had for me the two most nerve-wracking moments of my entire career,” Flanagan said. “The first was sending the first draft of the script to Stephen King, and that was utterly terrifying, but he thankfully really loved it. And the second was at the end, very recently, of this post-production process, when the film was sent to Stephen to watch and also to the Kubrick estate. Both went very well, and that was always the hope going in, was that if there was some universe in which Stephen King and the Stanley estate could both love this movie, that is the dream. Threading that needle has been the source of every ulcer we’ve had for the last two years.

Set 40 years after the events of The Shining, Doctor Sleep stars Ewan McGregor as the grown-up Danny Torrance who encounters a teenager named Abra (Kyliegh Curran) with her own powerful extrasensory gift, known as the “shine.” Rebecca Ferguson plays Rose the Hat, the leader of a group called The True Knot, who feed off the shine of innocents in their quest for immortality. The film opens Nov. 8.