stated: "The essence of a dramatic form is to let an idea come over people without it being plainly stated. When you say something directly, it is simply not as potent as it is when you allow people to discover it for themselves." He also said: "Realism is probably the best way to dramatize argument and ideas. Fantasy may deal best with themes which lie primarily in the unconscious". Diane Johnson, who co-wrote the screenplay for The Shining with Kubrick, notes that he "always said that it was better to adapt a book rather than write an original screenplay, and that you should choose a work that isn't a masterpiece so you can improve on it. Which is what he's always done, except with Lolita". When deciding on a subject for a film, there were many aspects that he looked for, and he always made films which would "appeal to every sort of viewer, whatever their expectation of film". According to his co-producer Jan Harlan, Kubrick mostly "wanted to make films about things that mattered, that not only had form, but substance". Kubrick believed that audiences quite often were attracted to "enigmas and allegories" and did not like films in which everything was spelled out clearly. Sexuality in Kubrick's films is usually depicted outside matrimonial relationships in hostile situations. Baxter states that Kubrick explores the "furtive and violent side alleys of the sexual experience: voyeurism, domination, bondage and rape" in his films. He further points out that films like A Clockwork Orange are "powerfully homoerotic", from Alex walking about his parents' flat in his Y-fronts, one eye being "made up with doll-like false eyelashes", to his innocent acceptance of the sexual advances of his post-corrective adviser Deltroid (Aubrey Morris). Indeed, the film is believed to have been at least partially inspired by the landmark work of queer cinema Funeral Parade of Roses. Film critic Adrian Turner notes that Kubrick's films appear to be "preoccupied with questions of universal and inherited evil", and Malcolm McDowell referred to his humor as "black as coal", questioning his outlook on humanity. A few of his pictures were obvious satires and black comedies, such as Lolita and Dr. Strangelove; many of his other films also contained less visible elements of satire or irony. His films are unpredictable, examining "the duality and contradictions that exist in all of us". Ciment notes how Kubrick often tried to