Thursday, 30 January 2014

The Stanley Kubrick Conspiracy - Part 3: Lights, Camera, Moon!

For all the examination of the “Stanley Kubrick and the Moon Hoax” article and the “Dark Side of the Moon” mockumentary, it is worth remembering that a great deal of strong circumstantial evidence existed long before the notion was ever fully articulated.

For example, Jay Weidner, a researcher who has virtually dedicated his studies to Stanley Kubrick and the global agenda, has plausibly demonstrated that the front-projection process (used so successfully in the "Dawn of Man" sequences of Kubrick’s “2001: A Space Odyssey”) shares key similarities with some of the abnormalities identified in the Apollo “Moon” footage – such as the clear lines of definition between the rough foreground and the smooth background.

To understand Kubrick’s connection with the agenda elite and the military industrial complex, one must look back at his career as a whole. Kubrick is remembered as being a notorious perfectionist with a meticulous attention to detail. Work on his films was laboured and incredibly lengthy. Actors were pushed to the limits of their ability and patience as (often) scores of takes of one short scene were repeatedly filmed (Tom Cruise was filmed 90 times walking through a doorway in “Eyes Wide Shut”!) until Kubrick was satisfied with the result. It is known that there was no piece of set dressing or background that hadn’t been placed or framed without his prior approval or specific reasoning. The same is also said of his wardrobe choices and actor’s appearances. This should come as no surprise, given that Kubrick began his profession as a photographer – an art that requires a precise knowledge of framing and context in order to be proficient.

Some researchers have claimed that Kubrick became trapped within his profession and that his art became a conduit through which he used allusion and imagery to reveal greater truths that he had come to realise. It is also claimed that his alleged involvement in the Apollo hoax would have abetted these circumstances. However, Kubrick’s disdain for aspects of the establishment was already apparent much earlier in his career.

His quasi-science fiction Cold War comedy, “Dr Strangelove: Or How I Learned to Stop Worrying and Love the Bomb”, was a definitive satire on the ominous Military Industrial Complex that President Eisenhower had warned the American people about. Kubrick had originally approached the military to be involved in the production. The proposed tone of the script did not go down well with the establishment and support was refused, prompting Kubrick to use his own ingenuity to realise various military aspects of the film (including recreating the interior of the B-52 bomber).

“Lacking cooperation from the Pentagon in the making of the film, the set designers reconstructed the aircraft cockpit to the best of their ability by comparing the cockpit of a B-29 Superfortress and a single photograph of the cockpit of a B-52, and relating this to the geometry of the B-52's fuselage. The B-52 was state-of-the-art in the 1960s, and its cockpit was off-limits to the film crew. When some United States Air Force personnel were invited to view the reconstructed B-52 cockpit, they said that ‘it was absolutely correct, even to the little black box which was the CRM.’ It was so accurate that Kubrick was concerned whether Ken Adam's production design team had done all of their research legally, fearing a possible investigation by the FBI.” See also: "Inside the Making of Dr. Strangelove," a documentary included with the 40th Anniversary Special Edition DVD of the film

The stunning realisation of this aircraft (at least by the cinematic standards of the day) allegedly prompted certain figures in The Pentagon to ask just how Kubrick was getting access to such highly accurate and closely guarded information. Over a few short years, Kubrick became a man with extensive agenda connections. He became so powerful and influential within the Hollywood industry that, by the time he worked on “2001: A Space Odyssey”, he actually banned MGM executives from the set of his film.

Harry Lange
NASA became extensively involved with the production of the film. For over two years, his key NASA/scientific advisors on the film were Frederick Ira Ordway III (a former member of the American Rocket Society, space scientist and author of technical books about spaceflight. He worked with ballistic rockets until 1960, followed by three years at Marshall Space Flight Centre) and Harry Lange & (an illustrator and designer for the Aerospace Industry, as well as the head of NASA’s future projects section - illustrating the ideas of Werner von Braun's team; such as nuclear propulsion, space stations, space platforms, etc.) NASA’s influence over the film became so pronounced that senior Apollo administrator George Mueller and astronaut Deke Slayton nicknamed the film’s production facilities at Borehamwood (UK) as “NASA East” - after seeing all of the hardware and documentation lying around the studio.

Ordway and Lange created an elaborate network of establishment and industry connections to assist the production of the film. In his piece, “2001: A Space Odyssey in Retrospect” Ordway explains, “we relied heavily on advice and material provided by the National Aeronautics and Space Administration and by a considerable number of private companies and universities… I found myself visiting General Electric's Missile and Space Vehicle Department near Philadelphia on Discovery propulsion; the Bell Telephone Laboratories in Murray Hill, New Jersey, on deep space communications; the Whirlpool Corporation at Benton Harbor, Michigan on food equipment to be used aboard Orion III and Aries IB; Honeywell, Inc. in Minneapolis on a variety of vehicular controls; and IBM in Armonk, New York, and its Eliot Noyes contractor in New Canaan, Connecticut, on all our computer sequences. Cooperative arrangements made from our New York base were later continued throughout production at the M-G-M British Studios in Borehamwood, England.”

The involvement of Bell Labs and IBM is particularly interesting given their agenda connections. Both worked extensively on synthetic speech research. “One of the more famous moments in Bell Labs' synthetic speech research was the sample created by John L. Kelly in 1962, using an IBM 704 computer. Kelly's vocoder synthesizer recreated the song "Bicycle Built for Two," with musical accompaniment from Max Mathews. Arthur C. Clarke, then visiting friend and colleague John Pierce at the Bell Labs Murray Hill facility, saw this remarkable demonstration and later used it in the climactic scene of his novel and screenplay for 2001: A Space Odyssey, where the HAL9000 computer sings this song as he is disassembled by astronaut Dave Bowman.”

The spelling of the name “HAL” is notably only one letter removed from “IBM”.
According to Ordway, it was Arthur C. Clarke (who co-wrote the screenplay of the film with Kubrick) who was responsible his and Lange’s involvement in the film.

Clarke had extensive connection with those in the highest levels of NASA – including a close friendship with former Nazi and NASA rocket scientist Werner Von Braun. According to researcher and author William Lyne, “In August 1949, von Braun was made an honorary member of the British Interplanetary Society, through his friend, Arthur C. Clarke.” (William Lyne, "Pentagon Aliens", 3rd edition, 1999, pg. 115)

One further point of note, that has somehow embellished the Kubrick / Apollo connection, is the use of three super-fast 50mm lenses (Carl Zeiss Planar 50mm f/0.7 - developed by Zeiss for use by NASA in the Apollo moon landings) in the filming of Kubrick’s 1975 film “Barry Lyndon”.

“For the many densely furnished interior scenes, this meant shooting by candlelight, a feat difficult enough in still photography, let alone with moving images to capture. For months they tinkered with different combinations of lenses and film stock to make this possible, before getting hold of a number of super-fast 50mm lenses developed by Zeiss for use by NASA in the Apollo moon landings. With their huge aperture and fixed focal length, mounting these was a nightmare, but they managed it, and so Kubrick's vision of recreating the huddle and glow of a pre-electrical age was miraculously put on screen.”

The use of three of these incredibly rare and valuable lenses (apparently only ten were ever made) has raised a few eyebrows. Moreover, the fact that he was in possession of equipment used to document the “Moon landing” has further compounded his connection to Apollo 11. However, Kubrick acquired the lenses during the production of “Barry Lyndon”, after they were no longer being used by NASA (the lenses were all-but sold by the agency to private parties.) Additionally, the lenses were designed for still photography and had to be extensively modified for motion picture filming.

In Part 4, I will examine the notion that Kubrick's film "The Shining" holds many clues to his potential involvement in the Apollo hoax.
Keep Shining Folks!

Kubrick Related Articles:
Updates, 6th Annual British Exopolitics Expo & More Stanley Kubrick Apollo Fakery -
Foxes, Saturn, Kubrick, Doctor Who and The Singularity -
A Movie About Kubrick Faking the Moon Landing? -
Stanley Kubrick - Updates -

Books available from Carl James:
Science Fiction and the Hidden Global Agenda - Volume One -
Science Fiction and the Hidden Global Agenda - Volume Two -
What Really Happened at the London 2012 Olympics -


Unknown said...

Hello Brother Carl,

You have several great posts here. I just came by for a few minutes to browse and I see at least 4 or 5 new additions I haven't read. I'll be back for some reading. Thank you for sharing.



Unknown said...
This comment has been removed by the author. said...

Namaste brother Carl; this has been a great ride. Your articles have exposed so much more than my brief investigations of the past. I feel Kubrick hated the establishment but was caught in a trap whereas his only hope of excelling in the trade he loved so much was by bending to the will of TPTB. It is obvious that he was a man of significant intelligence, much of his work contains cryptic messages pointing to the machine.

I understand the need to speak in an obscure language. I get how difficult it is to communicate with people who probably will not have the ability to read between the lines. We do our best and hope the messages are received.

Thanks for fleshing out this very interesting topic brother, your contributions are appreciated.

In Lak' ech, living with love... communicating with cryptology....

The Truth Seeker's Guide said...

Cheers Ian.
There will probably be about 8-9 parts to this Kubrick series. Hope you enjoy them.
All the best to you my friend!

The Truth Seeker's Guide said...

Cheers Chris.
I agree. Hollywood is pure analogy and allusion. Most of the time it is all (to paraphrase!) "sound and fury, signifying nothing".
There are some (like Kubrick, I believe) who wanted to say more but couldn't.
Such is the nature of the game, I suppose.
Peace my friend!

captron52 said...

hi Carl I really found these entries about Kubrick so interesting and full of so many facts I would never have even thought about! Keep up the good work sir! I love reading and learning from you. As always the very best to you and yours!

The Truth Seeker's Guide said...

Many thanks for all your support Ron, I really appreciate it.
Glad you are enjoying the articles.
All the best to you and yours.