It all started for Stanley Kubrick in late 1963, right before the release of Dr. Strangeland.
This Cold War black comedy took the stuffings out of all things that America held sacred.
With this one film, Stanley Kubrick rose up to the heights of his film making abilities.
And the Pentagon was not happy with Dr. Strangeland and his brutal portrayal of mad murderous generals
and the stumbling bumpkins running the U.S. war machine.
In fact, the Pentagon turned Kubrick down when he asked for permission to shoot inside
and outside of one of their B-52 bombers.
One read of the script of Dr. Strangeland convinced them that this film was going to
be dangerous and that Stanley Kubrick might be an agitator artist.
How long would you have to stay down there?
A Pentagon saw Dr. Strangeland and they knew they had their guy.
But for what?
It was at that moment that everything would change for Kubrick.
If he accepted their offer, he would get anything he wanted.
If he declined, they might just get rid of him.
In a sense, once the offer was made, Stanley had to take it.
And so Stanley Kubrick accepted a deal with the devil, so to speak.
It may make you uncomfortable, but as Morpheus says in The Matrix, I didn't say it would
be easy.
I only said it would be the truth.
So what was the deal that he made in 1963 with the Miller journey?
That deal was that Stanley Kubrick would film and fake the Apollo Milanese.
It has now been 40 years since the fabled moon landings by NASA in the Apollo game.
When it comes to the subject of the moon landings, people tend to fall into two belief groups.
First group, by far the bigger of the two groups, accepts the fact that NASA successfully
landed on the moon six times and that 12 human beings have actually walked on the surface
of the moon.
The second group, though far smaller, is more vocal about their beliefs.
This group says that we never went to the moon, not the entire thing was faked.
I would like to present a third position on this issue.
This third point of view falls somewhere between these two assertions.
This third position postulates that humans did go to the moon, but what we saw on TV
and in photographs was completely faked.
Furthermore, this third position reveals that Stanley Kubrick is the genius who directed
the hoaxed landings.
Someone in NASA, or the Pentagon, saw what Kubrick had done in Doctor Strange Love with
the B-52s and admiring his artfulness designated Kubrick as the person best qualified to direct
the Apollo moon landings.
If he could do that well on a limited budget, what could he do on an unlimited budget?
In the end, it looks like Kubrick faked the moon landings in return for two things.
The first was a virtually unlimited budget to make his ultimate science fiction film
2001 A Space Odyssey and the second was that he would be able to make any film he wanted
with no oversight from anyone for the rest of his life.
Except for his last film Eyes Wide Shut, Kubrick got what he wanted.
The most pressing problem for Kubrick in 1964 was to figure out how to make the shots on
the ground on the surface of the moon look realistic.
He had to make the scenes look wide open and expansive like it was really done on the moon
and not in some studio back lot.
No one knows how many things he tried, but eventually Kubrick settled on doing the entire
thing with a cinematic technique called front screen projection.
It is in the use of this cinematic technique that the fingerprints of Kubrick can be seen
all over the NASA Apollo photographic and video material.
But what is front screen projection?
Kubrick did not invent the process, but there is no doubt that he perfected it.
Front screen projection is a cinematic device that allows scenes to be projected behind
the actors so that it appears in the camera as if the actors are moving around on the
set provided by the front screen projection.
The process came into fruition when the 3M company invented a material called Scotchlight.
This was a screen material that was made up of hundreds of thousands of tiny glass beads.
These beads were highly reflective.
In the front screen projection process, the Scotchlight screen would be placed at the
back of the soundstage.
The plane of the camera lens and the Scotchlight screen had to be exactly 90 degrees apart.
A projector would project the scene onto the Scotchlight screen through a mirror and the
light would go through a beam splitter which would pass the light into the camera.
An actor could stand in front of the Scotchlight screen and he would appear to be inside the
projection.
Today, Hollywood's magicians use green screens and computers for special effects and so the
front screen projection system has gone the way of the adding machine and the Model T.
But for its time, especially in the 1960s, nothing worked better than front screen projection
for that realistic look that would be needed both for the 8 man scenes in 2001's Space
Odyssey and the fake Apollo moon landings.
One has to remember that the early scenes in 2001 with the actors in 8 costumes were
all done on a soundstage.
None of what you were seeing in the 8 man scenes at the beginning of 2001 was actually
shot outside.
One of the ways that you can tell the front screen system is being used is that the bottom
horizon line between the actual set and the background Scotchlight screen has to be blocked.
Cubics strategically located rocks and other things near the bottom of the scene in order
to hide the projection screen.
In other words, the camera and the viewers would see the bottom of the background projection
screen if it were not blocked in some fashion.
As part of the trick, it becomes necessary to place things in between the screen and
the set to hide the bottom of the screen.
I have photoshopped a line differentiating the set and the background Scotchlight front
projection screen.
Please note how everything is in focus, from the pebbles on the ground and the set to the
desert mountains beyond.
You will see that hiding the bottom of the Scotchlight screen is always being done when
the front screen projection system is being used in 2001's Space Odyssey.
Hiding the screen is one of the fingerprints.
It is evidence of its use.
As you will see before this film is finished, this same fingerprint, this same evidence
is clearly seen in all of the NASA Apollo stills and video images.
It is this fingerprint that reveals not only that NASA faked the Apollo missions, but how
they faked them.
Let's examine a few NASA Apollo images now.
This is a still from Apollo 17.
This is also a great example of the front screen projection process.
Again, I have photoshopped a line indicating the back of the set.
One can see that there is a slight uprising behind the rover, which is hiding the bottom
of the screen.
Also notice that even though everything is in focus, from the lunar rover to the mountains
in the background, there is a strange change in the landscape of the ground right behind
my lines.
This is because the photo of the mountains being used on the front projection system
has a slightly different ground texture than the set.
As we go on, we will see that this fingerprint is also consistent throughout the Apollo images.
Here is another Apollo image.
Now here is my version where I show the line between the set and the screen.
Again notice the texture of the ground changes right behind my line.
Now let's go to some more Apollo images.
We can see that the same thing occurs here as in the 8 man scenes in 2001.
There is always a line separating the set from the screen.
Even if you do not see it at first, it will become apparent as one grows more familiar
with the front screen projection process and how it is being used to fake the astronauts
standing on the lunar surface.
Go to any NASA site like www.apolloarchive.com and start looking for yourself.
Not all lunar surface shots are using the process.
Sometimes the astronauts are just standing on the set with a completely and suspicious
black background.
The early missions Apollo 11 and 12 used the front screen projection system only when they
had to, but as the missions went on and they had to look better, Kubrick began to perfect
the process.
Although you can see the front screen projection process on every mission, the seriously revealing
images are in the later missions, particularly Apollo 14, 15, 16 and, my favorite, 17.
Here are a few from Apollo 17.
The astronaut is driving the lunar rover parallel to the screen, and the rover is only three
or four feet away from the scotch light.
Please note how the tire treads just lead to nowhere.
Actually they are going to the edge of the set.
In this one, the astronaut is about six feet in front of the scotch light screen.
Please note how everything is in focus from the rocks and pebbles close to the camera
all the way to the crystal clear mountain behind the astronaut.
As we shall see, even that is impossible.
Also please note the other telltale evidence that permeates the Apollo images.
There is a stark difference in the ground texture between the set and what is being
projected onto the screen.
You can almost count the number of small rocks and the granularity of the ground is clearly
seen on the set.
But once we get to the screen on the other side of my line, this granularity disappears.
This next image is a slick little piece of work.
When first viewed, one is sure that they are looking across the vast, unbroken lunar surface
from beginning to end. With the earth rising, it is truly a stunning shot.
But sure enough, close examination reveals the set screen line once again.
Again please note the change in the texture of the ground immediately on each side of
the line.
The little pebbles and dust just seem to disappear behind my line.
But there's more.
One of the many things that many researchers have discovered about the Apollo footage is
that if you slightly speed up the footage of the astronauts walking around on the lunar
surface, they appear to be doing their business in normal speed, like they are on earth.
It is apparent that the footage has been shot in slow motion to give the effect of a low
gravity situation.
It seems odd that one would move slower in a low gravity environment because the low
gravity would cause even less resistance, not more.
In the scenes in 2001, near the beginning, we see the people on the ship and on the lunar
surface also moving in a slightly slow motion manner.
Again, this doesn't make a lot of sense in a real life situation.
If anything, they should be moving faster than on earth because there's less gravity.
But showing astronauts moving normally really causes the action to look unreal and staged,
so Keurig decided to shoot the moon scenes both in 2001 and in the Apollo landings in
slow motion to make it more convincing.
In a way, we were being set up by the film 2001 to accept the odd slow motion in the
Apollo scenes.
This may have been one of the reasons to release 2001 a year before the Apollo 11 landing
by creating a slow motion environment in 2001, the audience would then accept the slow motion
environment being portrayed in the Apollo footage.
There is one thing that I'm sure of.
Some part of Stanley Keurig wanted everyone to know what he had done, and that is why
he left behind clues that would explain who did it and how.
Film Wag the Dog, Dustin Hoffman plays a movie producer hired by the CIA to fake an event.
His name in the movie is Stanley.
In that movie, Stanley mysteriously dies after telling everyone that he wants to take credit
for the event that he helped to fake.
Stanley Keurig died four days after showing eyes wide shut to the executives at Warner
Brothers.
It is rumored that they were very upset concerning the film.
They wanted Keurig to re-edit the film, but he refused.
I personally was in France when Keurig died and saw on French television outtakes from
several scenes that were never in the finished film.
And finally, Eyes Wide Shut was released on July 16, 1999.
Stanley Keurig insisted in his contract that this be the date of the release.
July 16, 1999 is exactly 30 years to the day that Apollo 11 was launched.
Under the Masonic Moon Plans were made by the bankers in the back
room.
Get the president out of the way and hire Stanley Keurig under the Masonic Moon.
