Joined: Sept 2005 Gender: Male Posts: 1,648 Location: somewhere else
Stanley Kubrick « Thread Started on Oct 11, 2009, 1:20pm »
Interesting articles about how Stanley Kubrick filmed the "faked" moon landings alongside 2001: A Space Odyssey, then cryptically uses The Shining as an allegory to disclose this information.
Note that Iamaphoney uses clips from The Shining in his videos and the Apollo symbol if I remember correctly. This could tie in.
Problem is the search function on the forum is showing anything up but I know there are stills taken from the Rotten Apple series, can anyone point me in the right direction?
« Last Edit: Oct 11, 2009, 2:53pm by plastic paul »
Re: Stanley Kubrick « Reply #1 on Oct 11, 2009, 2:09pm »
I suppose Nixon->Nicholson could be another hint. All "moon shots" happened under Nixon. The 3 VW's at the beginning symbolising the German V2 rocket. One or two other things came to mind while reading it.
Very intereresting on the whole but I dont agree with the "third position" which the author adopts, that the USA actually did go to the moon but faked the TV footage.
thisone wrote: I dont agree with the "third position" which the author adopts, that the USA actually did go to the moon but faked the TV footage.
Well they certainly faked the TV footage, but it seems that the scenario you have rejected may be the case, as the mirrors that the astronauts alledgedly set up for laser measurements are there, as well as the moonquake-measuring devices (which, for all I know, may be one and the same). The astronauts may have been taken up to the moon with the help of aliens or by the use of "black ops" craft that the public is not aware of. But what we were shown at the time has now been clearly debunked; that is for sure.
Re: Stanley Kubrick « Reply #4 on Oct 11, 2009, 6:23pm »
According to the ‘debunkers,’ the fact that observatories to this day bounce lasers off the alleged targets proves that the Apollo missions succeeded. Some skeptics have suggested that the targets were actually placed there robotically, but it seems unlikely that anyone would go to so much trouble and expense when it has been known since as early as 1962 that such targets are completely unnecessary. In December 1966, National Geographic reported that scientists at MIT had been achieving the same result for four years by bouncing a laser off the surface of the Moon. The New York Times added that the Soviets had been doing the same thing since at least 1963.
Christiane Kubrick had 42 wonderful years with her husband. But in the decade since his death, she has been beset by tragedy. For the first time, she talks about losing one daughter to cancer, another to Scientology – and why her uncle made films for Goebbels
It's Thursday evening and the tiny figure of Christiane Kubrick takes to the stage at Somerset House on the Strand in London, to introduce an open-air screening of her late husband's film Paths of Glory. She reads from a prepared script: "Important events in life feel like they happened yesterday. But it was 53 years ago that Stanley saw me on German television and hired me . . ."
Stanley Kubrick gave Christiane the part of a bar singer. They married and barely left one another's side for the next 42 years. They raised three children: Anya and Vivian, plus Katharina, her daughter from an earlier marriage. Now, when she isn't running her art school from their Hertfordshire manor house, Childwickbury, Christiane is a kind of travelling protector of Stanley's legacy, trying to imagine how he might have wanted things done.
She continues reading: "I thought Stanley was extraordinary, and by some miracle he thought the same thing of me. As a result, my life has been a very happy one, very wonderful in every respect." Which is no longer quite so true. After four decades inside Childwickbury – where the Kubricks created a kind of blissful, busy mix of film production and family life – she has fallen victim to a series of tragedies. The one involving her daughter Vivian has been a family secret, but now, on the night of the Paths of Glory screening, she says she wants to talk about it.
I've known Christiane for eight years, on and off. I dealt with her while making my documentary, Stanley Kubrick's Boxes, which involved me looking through the 1,000 boxes he left behind. She was always welcoming and charming, even though, as she said, she was struggling with the "abyss" his death in 1999 created. One time, she and Anya spotted me riffling through one of his old notepads in the stable block. She said: "I get very upset at seeing some of his old things. The paper is so dusty and old and yellow. They look so sad. The person is so very dead."
There were some things I always felt nervous asking her about, like anything to do with her uncle Veit Harlan, but tonight over dinner – Paths of Glory making her nostalgic for the early days, I think – she brings the subject up herself. "Stanley and I came from such different, such grotesquely opposite backgrounds," she says. "I think it gave us an extra something. I had an appalling, catastrophic background for someone like Stanley." She pauses. "For me, my uncle was great fun. He and my father planned to join the circus. They were acrobats. They threw me around. It was a complete clown's world. Nobody can imagine that you can know someone who was so guilty so intimately – and yet not know."
It turned out that when Harlan wasn't clowning around with Christiane, he was writing and directing propaganda films for Goebbels. The most notorious was a film called Jud Süss, in which venal, immoral Jews take over and ruin a German city, stealing riches, defiling Aryan women, etc. The film was shown to SS units before they were sent out to attack Jews. Harlan was tried twice for war crimes, and exonerated, proving that Goebbels had interfered with Jud Süss, forcing him to re-edit and inject more antisemitism.
"Where my uncle was an enormous fool, as many talented people are, was that he mistook his gift for intelligence," says Christiane. "He was a great big famous film person. He looked better and talked better and had enormous charm. So he thought he was also far more intelligent than Mr Goebbels. Goebbels was 10,000 times smarter than my uncle." She pauses. "Film people, actors, are puppets. We are silly. We are silly folk."
Christiane says her uncle's story reinforced for Stanley and her their great principle in life: always be suspicious of people who have, or crave, power. "All Stanley's life he said, 'Never, ever go near power. Don't become friends with anyone who has real power. It's dangerous.' We both were very nervous on journeys when you have to show your passport. He did not like that moment. We always had to go through separate entrances, he with [our] two American daughters upstairs, and me with my German daughter downstairs. The foreigners downstairs! He'd be looking for us nervously. Would he ever get us back?"
Christiane laughs; of course they were always reunited. They spent a lifetime together inside Childwickbury, where Stanley created his self-governing mini-studio and the children went to progressive schools that eschewed hierarchies. And, in fact, her German daughter Katharina remains at Childwickbury to this day, painting and making jewellery and helping her mother run her art school. But the two daughters by Stanley are gone. I had no idea when I met Anya, their middle daughter, in 2007 that she was sick. "It was one of her great gifts to her son she never, as much as possible, allowed him to feel any of her horrible illness," Christiane says. "She died over 10 years. With all the things you have when you have cancer. The hair loss. The lot. She had a terrible time."
When I met her, would she have been in pain? "Yes," says Christiane. "She had Hodgkin's disease. She had a great deal of pain. She was very much like Stanley in many respects. She looked like him and had many of his characteristics. She was intelligent and a nice person." Anya died in July 2009, aged 50.
I never met their youngest daughter, Vivian. There was mention of her being in Los Angeles, but I sensed I shouldn't ask about it because something had happened. Vivian had once been a big presence in the family. When she was 17, she directed a brilliant documentary, The Making of The Shining. When she was 24, she composed the score for Full Metal Jacket. She shot 18 hours of behind-the-scenes footage for that film too, but it was never edited. You catch glimpses of her in the rushes I once got to watch: beautiful, effervescent, headstrong. At one point, Stanley turns her camera on to her and she tells him if he doesn't turn it off she'll take her top off to embarrass everyone. He quickly turns it off.
"She is a fabulous person," says Christiane. "Beautiful, very witty, enormously talented in all sorts of directions, very musical, a great mimic, she could play instruments easily, she could sing, she could dance, she could act, there wasn't anything she couldn't do. We had fights. But she was hugely loved. And now I've lost her." She pauses. "You know that? I used to keep all this a secret as I was hoping it would go away. But now I've lost hope. So. She's gone."
It all began, she says, while Stanley was editing Eyes Wide Shut, which starred Tom Cruise and Nicole Kidman. Stanley asked Vivian to compose the score, but at the last moment she said she wouldn't. Instead, she disappeared into San Francisco and Los Angeles. "They had a huge fight. He was very unhappy. He wrote her a 40-page letter trying to win her back. He begged her endlessly to come home from California. I'm glad he didn't live to see what happened."
On the day of Stanley's funeral, Christiane says, Vivian arrived with a woman nobody recognised. "She just sat in Vivian's room. Never said hello to us. Just sat. We were all spooked. Who was this person? Turns out she was a Scientology something-or-other, don't know what."
"Did Vivian give a reason why she joined the Scientologists?" I ask.
"It's her new religion," Christiane shrugs. "It had absolutely nothing to do with Tom Cruise by the way. Absolutely not."
"Maybe it was her way of dealing with her father's death?"
"I think she must have been very upset," Christiane says, "but, again, I wouldn't know. I know nothing. That is the truth. I can't reach her at all. I've had two conversations with her since Stanley died. The last one was eight years ago. She became a Scientologist and didn't want to talk to us any more and didn't see her dying sister, didn't come to her funeral. And these were children that had been joined at the hip."
I tell her that she seems to have handled all her tragedies with remarkable resilience. "I dare say I have, yes," she says. "But I've also been very sad. I was helped by my children. Anya, in particular."
She says that when Stanley was alive, he kept her and their daughters cosseted from stress, from life's legal and financial arrangements, allowing them to float through Childwickbury without worries. But he died long before anyone expected he would, and Christiane has been left with burdens she never anticipated. So she's forever finding herself second-guessing him. Would he have handled the Vivian situation differently? Would he have approved of the way she speaks about him in interviews?
"I am very self-conscious and surrounded by his ghost when I do these things," she says, waving her hand towards the Somerset House stage. In the last year or two, there's been a Royal Festival Hall screening of 2001: A Space Odyssey, complete with live orchestra, a Kubrick season at the Barbican, a mammoth Taschen book Stanley Kubrick's Napoleon: The Greatest Movie Never Made, and more. "Would he like that?" she says. "I'm always having these conversations with him as I am not terribly secure. And I try to live like I think he would want me to go on, because of the grandchildren and everything. I'm also, by nature, quite gregarious."
At the end of our dinner I tell her, with some embarrassment, that I find her quite inspiring. She thinks about this for a moment. "I'm very pleased that Stanley liked me," she replies.
When I get home I mention to a friend, a Kubrick buff, that I'd just had dinner with her. "Oddly, I was just thinking about her today," he replies. "A Twilight fan said to me, 'Is there anything more romantic than Edward and Bella?' I immediately thought, 'Christiane Kubrick's protection of her husband's legacy.'"
"The Central Intelligence Agency owns everyone of any significance in the major media." ~ William Colby, Former CIA Director and "boating accident" victim
My instructor was Mr. Langley and he taught me to sing a song. If you'd like to hear it, I can sing.
Joined: Jun 2008 Gender: Male Posts: 1,656 Location: Room 237
Re: Stanley Kubrick « Reply #6 on Mar 7, 2011, 3:30pm »
Red Ice radio - 6.3.2011 - 1/4 - Kubrick's Odyssey & The Brotherhood of Saturn
Called by Wired Magazine an "authority on the hermetic and alchemical traditions," and "erudite conspiracy hunter," Jay Weidner is a renowned author, filmmaker and hermetic scholar. Considered to be a "modern-day Indiana Jones" for his ongoing worldwide quests to find clues to mankind's spiritual destiny via ancient societies and artifacts, his body of work offers great insight into the circumstances that have led to the current global crisis.
He is the producer of the documentary films, "2012 The Odyssey", its sequel "Timewave 2013" and "Infinity; The Ultimate Trip". Jay joins us to discuss his latest film "Kubrick's Odyssey: Secrets Hidden in the films of Stanley Kubrick".
The acclaimed American film director Stanley Kubrick told an important story with all his films and they all connect with each other and communicate a message. The question is if Kubrick was murdered considering what he was trying to reveal with his films.
We start to examine the film "Eyes Wide Shut" and how it connects with mind control, the elite, satanic, archonic, and demonic forces. We also discuss the Brotherhood of Saturn, the secret space program and Arthur C. Clarke.
Topics Discussed: Kubric's Odyssey, Eyes Wide Shut, Operation Monarch, occult, sex-cults, Kubrick murdered, storytelling with films, A.I., pedophilia, Archons, Demons, Lolita, bear symbolism, Jim Garrison, Lee Harvey Oswald, NASA, the real space program, Babalon Bunch, Saturnian Society, JPL, the ringmakers, hexagonal rings on Saturn, Jupiter, Zeus, Saturn, Set, Buzz Aldrin comments on the Monolith Phobos, Lord of the Rings, Iapateus, Sargon, rings of Saturn, time trap and more.
"The Central Intelligence Agency owns everyone of any significance in the major media." ~ William Colby, Former CIA Director and "boating accident" victim
"The Central Intelligence Agency owns everyone of any significance in the major media." ~ William Colby, Former CIA Director and "boating accident" victim
Re: Stanley Kubrick « Reply #17 on Jul 19, 2011, 9:35pm »
According to the ‘debunkers,’ the fact that observatories to this day bounce lasers off the alleged targets proves that the Apollo missions succeeded. Some skeptics have suggested that the targets were actually placed there robotically, but it seems unlikely that anyone would go to so much trouble and expense when it has been known since as early as 1962 that such targets are completely unnecessary. In December 1966, National Geographic reported that scientists at MIT had been achieving the same result for four years by bouncing a laser off the surface of the Moon. The New York Times added that the Soviets had been doing the same thing since at least 1963.
One of these?
isn't it interesting that just one tiny "light" showed up in the backround that was off angle from the rest?
Re: Stanley Kubrick « Reply #19 on Mar 30, 2012, 5:10am »
No way we went to the moon, at least not in that cookiejar with the 82 kb mem onboard computer. There is no way we can travel through the van Allen belt, and even if we could the astronauts would die from solar radiation in outer space, outside our magnetic field. The spaceshuttle could not go higher than 700 km.
It would take at least 20 years from now to go back to the moon , due to space radiation. Pictures and video's are clearly faked.
thisone wrote: I dont agree with the "third position" which the author adopts, that the USA actually did go to the moon but faked the TV footage.
Well they certainly faked the TV footage, but it seems that the scenario you have rejected may be the case, as the mirrors that the astronauts alledgedly set up for laser measurements are there, as well as the moonquake-measuring devices (which, for all I know, may be one and the same). The astronauts may have been taken up to the moon with the help of aliens or by the use of "black ops" craft that the public is not aware of. But what we were shown at the time has now been clearly debunked; that is for sure.
Some 2 years later I walked by chance onto a lecture by man who claimed to have brought us new pictures and facts released by NASA recently. It was large community college but only about 10 people showed up. He told us astronauts after walking on the Moon surface had small sharp rocks gotten inside of their space suits and were forced to remove space suits inside space ship and fly back naked. ( No wind or water means razor sharp rocks). Under his breath after lecture he said people don't understand corrosive power of solar wind and maybe nothing is left from objects like flags installed on the Moon. FWIW
thisone wrote: I dont agree with the "third position" which the author adopts, that the USA actually did go to the moon but faked the TV footage.
Well they certainly faked the TV footage, but it seems that the scenario you have rejected may be the case, as the mirrors that the astronauts alledgedly set up for laser measurements are there, as well as the moonquake-measuring devices (which, for all I know, may be one and the same). The astronauts may have been taken up to the moon with the help of aliens or by the use of "black ops" craft that the public is not aware of. But what we were shown at the time has now been clearly debunked; that is for sure.
Some 2 years later I walked by chance onto a lecture by man who claimed to have brought us new pictures and facts released by NASA recently. It was large community college but only about 10 people showed up. He told us astronauts after walking on the Moon surface had small sharp rocks gotten inside of their space suits and were forced to remove space suits inside space ship and fly back naked. ( No wind or water means razor sharp rocks). Under his breath after lecture he said people don't understand corrosive power of solar wind and maybe nothing is left from objects like flags installed on the Moon. FWIW
What was the point of removing their suits after they were back inside the safety of the pressurized LM?
At least they didn't break their leg walking on the moon.
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