of the audience". Five days after release on May 23, 1980, Kubrick ordered the deletion of a final scene, in which the hotel manager Ullman (Barry Nelson) visits Wendy (Shelley Duvall) in hospital, believing it unnecessary after witnessing the audience excitement in cinemas at the film's climax. The Shining opened to strong box office takings, earning $1 million on the first weekend and earning $30.9 million in America by the end of the year. The original critical response was mixed, and King detested the film and disliked Kubrick. The Shining is now considered to be a horror classic, and the American Film Institute has ranked it as the 27th greatest thriller film of all time. Later work and final years (1981–1999) Kubrick met author Michael Herr through mutual friend David Cornwell (novelist John le Carré) in 1980, and became interested in his book Dispatches, about the Vietnam War. Herr had recently written Martin Sheen's narration for Apocalypse Now (1979). Kubrick was also intrigued by Gustav Hasford's Vietnam War novel The Short-Timers. With the vision in mind to shoot what would become Full Metal Jacket (1987), Kubrick began working with both Herr and Hasford separately on a script. He eventually found Hasford's novel to be "brutally honest" and decided to shoot a film which closely follows the novel. All of the film was shot at a cost of $17 million within a 30-mile radius of his house between August 1985 and September 1986, later than scheduled as Kubrick shut down production for five months following a near-fatal accident with a jeep involving Lee Ermey. A derelict gasworks in Beckton in the London Docklands area posed as the ruined city of Huế, which makes the film visually very different from other Vietnam War films. Around 200 palm trees were imported via 40-foot trailers by road from North Africa, at a cost of £1000 a tree, and thousands of plastic plants were ordered from Hong Kong to provide foliage for the film. Kubrick explained he made the film look realistic by using natural light, and achieved a "newsreel effect" by making the Steadicam shots less steady, which reviewers and commentators thought contributed to the bleakness and seriousness of the film. According to critic Michel Ciment, the film contained some of Kubrick's trademark characteristics, such as his selection of ironic music, portrayals of men being dehumanized, and attention to extreme detail to achieve realism.