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Under the Masonic Moon, plans were made by the bankers in the back room.
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Get the President out of the way and hire Stanley Kubrick.
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Under the Masonic Moon, under the Masonic Moon, everyone hoped that the boys would come home soon.
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One more day and they'll drop from the plane and splash into the ocean.
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Under the Masonic Moon.
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Werner von Braun and his conspirators got a free ride to the States.
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They turned Nazi into Nassau, they just couldn't wait.
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Under the Masonic Moon.
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...
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Under the Masonic Moon, plans were made by the bankers in the back room.
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The owl sees into the night and the secret will never be told.
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...
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It all started for Stanley Kubrick in late 1963, right before the release of Dr. Strangelove.
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This Cold War black comedy took the stuffings out of all things that America held sacred.
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With this one film, Stanley Kubrick rose up to the heights of his filmmaking abilities.
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And the Pentagon was not happy with Dr. Strangelove and its brutal portrayal of mad murderous generals
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and the stumbling bumpkins running the U.S. war machine.
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In fact, the Pentagon turned Kubrick down when he asked for permission to shoot inside and outside of one of their B-52 bombers.
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One read of the script of Dr. Strangelove convinced them that this film was going to be dangerous
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and that Stanley Kubrick might be an agitator artist.
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The top brass all saw the finished film in early fall of 1963.
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It was as they expected. The film made fun of the Pentagon, their generals, and their various war plans.
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But there was something else that struck them about Stanley Kubrick's dark comedy.
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And that was the scenes both inside and outside the B-52s.
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Kubrick had pasted together what the interior of a B-52 looked like by taking many separate photos from military magazines and putting them together.
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The end result was an astonishingly close replica of the actual interior of a B-52.
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But it was the exterior shot of the B-52 that really excited the boys in the Pentagon.
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Quaint by today's high-tech special effects standards, Kubrick's exterior shots of the B-52s flying over Russia were absolutely stunning in 1964, especially on the big screen.
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It was sometime in the fall of 1963 or the winter of 1964 that they contacted Stanley Kubrick and offered him a deal that he could not refuse.
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It was a deal with the devil in a way, or at least that is how Stanley Kubrick came to view it.
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By an earnest study of Stanley Kubrick's life, his films, the history of his times, and the understanding of his symbolic system,
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I intend to show you that Stanley Kubrick was not only a great filmmaker, but that he was privy to the main secrets of an occult society that rules the earth.
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Mr. President, I would not rule out the chance to preserve a nucleus of human specimens.
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It would be quite easy.
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At the bottom of some of our deeper mine shafts, radioactivity would never penetrate a mine some thousands of feet deep.
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And in a matter of weeks, the vision's improvements in dwelling space could easily be provided.
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How long would you have to stay down there?
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Well, let's see now.
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The Pentagon saw Dr. Strangelove and they knew they had their guy.
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But for what?
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It was at that moment that everything would change for Kubrick.
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If he accepted their offer, he would get anything he wanted. If he declined, they might just get rid of him.
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In a sense, once the offer was made, Stanley had to take it.
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And so Stanley Kubrick accepted a deal with the devil, so to speak.
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It was with this deal and what it would do for Stanley's career that I would like to address in this film.
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Although what you are about to see may offend you, I ask that you stick with the idea I'm about to present all the way to the end.
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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.
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Stanley Kubrick's odyssey really began in late 1963.
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His own evolving story would also be our story.
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Kubrick would reveal much of the truth of our age over the rest of his life.
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Because of the deal he made, Kubrick was free to make films that would alter the way that we look at ourselves, our history, and our destiny.
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With this free meal ticket, Kubrick could have gone on to make journeyman films.
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Instead, he used the medium to reveal the darkest and the lightest aspects of the human condition.
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So what was the deal that he made in 1963 with the military?
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That deal was that Stanley Kubrick would film and fake the Apollo moon landings.
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It has now been 40 years since the fabled moon landings by NASA and the Apollo gang.
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When it comes to the subject of the moon landings, people tend to fall into two belief groups.
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First group, by far the bigger of the two groups, accepts the fact that NASA successfully landed on the moon six times,
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and that 12 human beings have actually walked on the surface of the moon.
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The second group, though far smaller, is more vocal about their beliefs.
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This group says that we never went to the moon, and that the entire thing was faked.
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I would like to present a third position on this issue.
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This third point of view falls somewhere between these two assertions.
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This third position postulates that humans did go to the moon, but what we saw on TV and in photographs was completely faked.
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Furthermore, this third position reveals that Stanley Kubrick is the genus who directed the hoaxed landings.
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In some ways, NASA's position was understandable.
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We were in the middle of a cold war with the Soviet Union.
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Did we really want to show the Russians what we had?
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In fall 1963, Stanley Kubrick had just finished Dr. Strangelove and was looking to do a science fiction film.
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Someone in NASA, or the Pentagon, saw what Kubrick had done in Dr. Strangelove with the B-52s,
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and admiring his artfulness, designated Kubrick as the person best qualified to direct the Apollo moon landings.
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If he could do that well on a limited budget, what could he do on an unlimited budget?
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No one knows how the powers at B convinced Kubrick to direct the Apollo landings.
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Maybe they had compromised Kubrick in some way.
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Kubrick also had a reputation for being a notoriously nasty negotiator.
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It would have been interesting to have been a fly on the wall during the negotiations between Kubrick and the Pentagon.
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In the end, it looks like Kubrick faked the moon landings in return for two things.
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The first was a virtually unlimited budget to make his ultimate science fiction film, 2001, a space odyssey,
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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.
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Except for his last film Eyes Wide Shut, Kubrick got what he wanted.
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It is uncanny the way that the production of 2001, a space odyssey parallels the Apollo program.
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The film production started in 1964 and went on to the release of 2001, a space odyssey in 1968.
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Meanwhile, the Apollo program also began in 1964 and culminated with the first moon landings on July 20, 1969.
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It is also very interesting to note that the scientist Frederick Ordway was working both for NASA and the Apollo program
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and was also Kubrick's top science advisor for 2001, a space odyssey.
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Once he had negotiated the deal, Stanley got to work.
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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,
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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.
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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.
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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.
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Keep working, that thing shouldn't fail.
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But what is front screen projection? Kubrick did not invent the process, but there is no doubt that he perfected it.
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Front screen projection is a cinematic device that allows scenes to be projected behind the actors so that it appears in the camera
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as if the actors are moving around on the set provided by the front screen projection.
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The process came into fruition when the 3M company invented a material called Scotch light.
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This was a screen material that was made up of hundreds of thousands of tiny glass beads. These beads were highly reflective.
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In the front screen projection process, the Scotch light screen would be placed at the back of the sound stage.
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The plane of the camera lens and the Scotch light screen had to be exactly 90 degrees apart.
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A projector would project the scene onto the Scotch light screen through a mirror, and the light would go through a beam splitter,
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which would pass the light into the camera. An actor could stand in front of the Scotch light screen, and he would appear to be inside the projection.
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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.
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But for its time, especially in the 1960s, nothing worked better than front screen projection for that realistic look that would be needed
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both for the ape man scenes in 2001's Space Odyssey and the fake DiPaolo moon landings.
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To see how front screen projection looks on the screen, let's examine the ape man scenes at the beginning of Kubrick's film 2001's Space Odyssey.
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One has to remember that the early scenes in 2001 with the actors in ape costumes were all done on a sound stage.
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None of what you were seeing in the ape man scenes at the beginning of 2001 was actually shot outside.
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The scenes that surround the ape man in 2001 are actually slides of a desert being projected onto the Scotch light screen standing at the rear of the set.
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In order to create these desert backgrounds, Kubrick sent a photographic team to Spain to shoot 8x10 ectochrome slides.
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These slides were then projected via the front screen projection system onto the Scotch light screen.
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The actors in ape costumes stood in front of the screen acting out the script.
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If you watch 2001 on DVD, you can actually see the scenes of the screen occasionally behind the gyrating apes.
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Kubrick was doing front screen projection on such a huge and grand fashion that the technicians were forced to sew together many screens of Scotch light
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so that Kubrick could create the vastness needed for the ape scenes to be believable.
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In this scene taken from an early scene in 2001, you can see the scenes in the blue sky if you look closely.
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This next image is one that I have processed through a graphics program.
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In this processing, I have increased the gamma and increased the contrast.
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Now we can clearly see the seams and the stitching of the Scotch light front projection screen in the sky.
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To get the perspective correct, one has to realize that the Scotch light screen is right behind the rocky outcropping set, which was built on a sound stage.
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The lines on the screen are the flaws in the Scotch light screen.
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These flaws in the screen give the sky a peculiar geometry when the image is properly processed to reveal the front projection Scotch light screen.
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Let's show another example. Here is a scene from the waterhole scene from 2001.
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This is the same image, but again with the gamma and contrast increased.
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While watching 2001 with the scenes of the ape men, one can begin to see the telltale fingerprints that always reveal when the front projection screen system is used.
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It should be emphasized that the sets that surround the ape men in the movie are real.
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Those are real rocks, whether paper mache or real, that surround the ape men.
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But behind the fabricated rocks on the set, the desert scene is being projected via the front screen projector.
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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 Scotch light screen has to be blocked.
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Kubrick strategically located rocks and other things near the bottom of the scene in order to hide the projection screen.
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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.
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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.
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I have photoshopped a line differentiating the set and the background Scotch light front projection screen.
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Please note how everything is in focus, from the pebbles on the ground and the set to the desert mountains behind.
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You will see that hiding the bottom of the Scotch light screen is always being done when the front screen projection system is being used in 2001 A Space Odyssey.
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Hiding the screen is one of the fingerprints. It is evidence of its use.
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Just like the stage magician who needs the long sleeves of his costume to hide the mechanism of his tricks, so too Kubrick needed to hide the mechanism of his trick behind the carefully placed horizon line between set and screen.
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Here is another example from 2001.
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And here is the same image with my photoshopped line separating the set and background projection screen.
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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.
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It is this fingerprint that reveals not only that NASA faked the Apollo missions, but how they faked them.
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Let's examine a few NASA Apollo images now.
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This is a still from Apollo 17.
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This is also a great example of the front screen projection process.
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Again I have photoshopped a line indicating the back of the set.
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One can see that there is a slight uprising behind the rover, which is hiding the bottom of the screen.
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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.
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This is because the photo of the mountains being used on the front projection system has a slightly different ground texture than the set.
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As we go on we will see that this fingerprint is also consistent throughout the Apollo images.
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Here is another Apollo image.
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Now here is my version where I show the line between the set and the screen.
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Again notice the texture of the ground changes right behind my line.
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Now let's go to some more Apollo images.
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We can see that the same thing occurs here as in the 8 man scenes in 2001.
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There is always a line separating the set from the screen.
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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.
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Go to any NASA site like www.apolloarchive.com and start looking for yourself.
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Not all lunar surface shots are using the process.
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Sometimes the astronauts are just standing on the set with a completely and suspicious black background.
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The early missions, Apollo 11 and 12, used the front screen projection system only when they had to.
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But as the missions went on and they had to look better, Kubrick began to perfect the process.
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Although you can see the front screen projection process on every mission, the seriously revealing images are in the later missions.
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Particularly Apollo 14, 15, 16 and my favorite, 17.
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Here are a few from Apollo 17.
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The astronaut is driving the lunar rover parallel to the screen and the rover is only 3 or 4 feet away from the scotch light.
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Please note how the tire treads just lead to nowhere.
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Actually they are going to the edge of the set.
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In this one, the astronaut is about 6 feet in front of the scotch light screen.
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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.
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As we shall see, even that is impossible.
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Also please note the other telltale evidence that permeates the Apollo images.
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There is a stark difference in the ground texture between the set and what is being projected onto the screen.
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You can almost count the number of small rocks and the granularity of the ground is clearly seen on the set.
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But once we get to the screen on the other side of my line, this granularity disappears.
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This next image is a slick little piece of work.
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When first viewed, one is sure that they are looking across the vast unbroken lunar surface from beginning to end.
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With the earth rising, it is truly a stunning shot.
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But sure enough, close examination reveals the set screen line once again.
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Again, please note the change in the texture of the ground immediately on each side of the line.
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The little pebbles and dust just seem to disappear behind my line.
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Former NASA consultant Richard Hoagland has examined many of the photos of the Apollo landings.
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Examining the photographic record of the Apollo missions and processing Apollo images through various graphic programs,
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Hoagland has discovered geometries in the sky surrounding the astronauts on the moon.
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This is a close-up.
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We see the hills.
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We see just hints that something is not quite right in the sky.
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And when you scan it and simply turn up the game, turn up the brightness,
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there all over the sky is a stunning set of geometry.
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Glass-like, semi-transparent, scattering geometry, scattering blue light,
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which tells us that it must be fine particles, fine stuff, very micron size,
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with various imperfections, holes, sparkles, the whole nine yards.
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This is what can caught them painting out in the LRL, because everyone knows you can't see stars from the moon.
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The bright things were not stars.
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They were shining bits of glass scattering sunlight,
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recorded by these primitive, by today's standards, Hasselblad cameras on 35 millimeter ectochrome film.
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Starting with this image, we then did sectionals, and we found that as you zoomed in,
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you got more and more detail in this supposedly black sky above the moon.
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Remember, it's a vacuum, no atmosphere.
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There should be nothing here.
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It should be pitch black.
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That, again, is why they were painting it out.
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This all fits together awfully, awfully well, and I use the term awfully with full knowledge.
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If you look carefully at this section, you'll see now that there is a stunning three-dimensional, girder-like geometry,
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a scaffolding, rebar, a structural matrix standing above the moon anchored to the surface by a set of slanted buttresses.
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The geometry is perfect, meaning it absolutely is consistent with what the constructional techniques would be there
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if you had built something miles high above the current surface of the moon.
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If you look in close-up, you'll see in the buttresses there are layers of detail.
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This, again, is, to me, stunning, amazing, stunning quality because we had not had access to anything approaching this low generation from the Apollo negatives.
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He postulates that these geometries are evidence of some kind of gigantic glass-like structures behind, above, and surrounding the astronauts as they stand on the lunar surface.
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Hoagland even shows us that there are rainbow lights reflecting in the sky high above the astronauts.
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Many people, especially in NASA, have attacked Hoagland for these interpretations.
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Yet, no matter how much they attack Hoagland, they can never explain what it is that he's finding on these Apollo images.
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I, like Hoagland, believe that NASA has actually gone to the moon.
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I believe that moon rocks were taken from the surface of the moon.
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I believe that there is strong evidence of some kind of past intelligent activity on the surface of the moon.
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But I do not believe that standard rocket technology is what got mankind from the earth to the surface of the moon.
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I'm not trying to debunk Hoagland's discoveries.
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All I'm trying to do, with the following evidence, is to show that the Apollo negatives are actually there.
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What I'm trying to do, with the following evidence, is to show that the Apollo landings are a hoax,
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and that Stanley Kubrick, using the front-screen projection system, directed them.
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Again, I want to make sure that I'm understood here.
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I'm not saying that there are not strange structures on the moon.
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What I'm saying is that the structures and geometries that Richard Hoagland is seeing in the photographs taken on the lunar surface are not what he thinks they are.
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He believes that these images are proof that NASA is hiding evidence of alien cities.
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This is a processed photograph of astronaut Ed Mitchell on the surface of the moon, taken during the Apollo 14 mission.
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Of course, all the stuff in the sky, as seen in this processed Apollo image from Hoagland, is impossible if it was taken on the lunar surface.
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There is no atmosphere on the moon. Therefore, there can be nothing in the sky.
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Yet, when Hoagland processed much of the Apollo lunar surface imagery, he discovered, over and over again, all of this crud in the sky above the astronauts.
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No one in NASA even attempts to answer Hoagland, or anyone else, about the strange stuff that he and others is finding in the skies above the astronauts.
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Richard Hoagland theorizes that this is photographic evidence of huge, abandoned glass cities on the surface of the moon.
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He says that what we are seeing in these processed images is huge glass towers that only show up on the images after they've been processed through the graphics software.
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Hoagland has taken an image on the left and processed it in a manner very similar to how I processed the images from 2001, A Space Odyssey.
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By increasing the gamma and the contrast of the image, he arrived at the picture on the right.
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Hoagland interprets the image on the right as proof of giant glass structures behind the astronaut, and for that matter, all over the surface of the moon.
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What Hoagland is really seeing, though, is the imperfections of the background scotchlight screen that Kubrick used to create the lunar backgrounds.
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These imperfections can also be found in the desert backgrounds in the ape scenes in 2001, as I've shown you.
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In the desert, in the mountain, look at the sky up above, and in the sky you will see this inset, and in the inset there is this incredible rainbow.
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What Hoagland in the above image reveals is the texture and geometry of the scotchlight screen.
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Because of the vastness of the set, because he needed to look like it was not done on a soundstage, Kubrick had to sew several scotchlight screens together.
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It was only when he had created a large enough scotchlight screen was he then able to get a large enough background image that would look expansive enough to appear to be the surface of the moon or a desert four million years ago.
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The same process that created the desert backgrounds in 2001 is the same process that created the lunar mountain background for the Apollo missions.
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This is a picture from Hoagland's research.
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This processed image reveals a rainbow-like reflecting light high in the sky above the astronauts on the moon.
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Hoagland theorizes that this is light reflecting off one of the giant glass towers standing right behind the astronaut.
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What this really is, is a light reflecting off one of the tiny glass beads of the scotchlight screen.
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For some reason, that particular glass bead was slightly off from its 90 degree angle, and so it caught the projector light and reflected it back into the camera.
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Again, a scene from 2001.
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And now one of Hoagland's processed Apollo shots.
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It is pretty clear that Hoagland's geometries are really the patterns and flaws of the stitches in the scotchlight screen.
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Furthermore, if you look in the background, here's another one of these amazing glass prism, prismatic dispersions captured behind Schmidt.
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And the overview is this. Here's the wide angle. There's this incredible color, which cannot exist.
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It is identical in principle to this. This is a shot of the Golden Gate looking toward the east with the sun setting in the west, air golden named Golden Gate.
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This is atmosphere scattering red, green, blue. It's basically the atmosphere acting like a movie screen.
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But there's more.
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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.
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It is apparent that the footage has been shot in slow motion to give the effect of a low gravity situation.
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It seems odd that one would move slower in a low gravity environment because the low gravity would cause even less resistance, not more.
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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.
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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.
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But showing astronauts moving normally really causes the action to look unreal and staged.
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So Keurig decided to shoot the moon scenes both in 2001 and in the Apollo landings in slow motion to make it more convincing.
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In a way, we were being set up by the film 2001 to accept the odd slow motion in the Apollo scenes.
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This may have been one of the reasons to release 2001 a year before the Apollo 11 landing.
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By creating a slow motion environment in 2001, the audience would then accept the slow motion environment being portrayed in the Apollo footage.
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There is one thing that I'm sure of. Some part of Stanley Kubrick wanted everyone to know what he had done.
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And that is why he left behind clues that would explain who did it and how.
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But also we can see that Kubrick used the faking of the Apollo moon missions as an opportunity to make one great film.
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Because he had negotiated a deal where no one would be given oversight on the film, Kubrick was allowed to make whatever movie he desired.
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Knowing that no one would object to his anti-Hollywood methods, he created the first abstract feature film, the first intellectual movie, and the greatest work of art in the 20th century.
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And I'm talking about 2001, Space Odyssey.
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The first film of the 20th century was a film by Richard L. E. Holt.
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The film was a film by Richard Holt, the first film of the 20th century.
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The film was a film by Richard Holt, the first film of the 20th century.
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The film was a film by Richard Holt, the first film of the 20th century.
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The film was a film by Richard Holt, the first film of the 20th century.
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Outside of the front screen projection evidence, which I believe nails the fraud of the Apollo landings, there is other circumstantial evidence that forces the conclusion even more in the direction of Kubrick directing the entire Apollo missions.
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For instance, in the original release of 2001, there were many credits thanking NASA and many of the aerospace companies that worked with NASA on the moon landings.
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These credits have long been removed from all subsequent releases of 2001.
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For those of us old enough to remember, in the original credits, Kubrick thanks a vast array of military and space corporations for their help in the production.
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Are these the same corporations that supposedly helped NASA get the astronauts to the moon?
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One has to wonder, what kind of help did they give Stanley, and for what price?
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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.
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In that movie, Stanley mysteriously dies after telling everyone that he wants to take credit for the event that he helped to fake.
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Stanley Kubrick 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 Kubrick to re-edit the film, but he refused.
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I personally was in France when Kubrick died and saw on French television outtakes from several scenes that were never in the finished film.
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And finally, Eyes Wide Shut was released on July 16, 1999. Stanley Kubrick insisted in his contract that this be the date of the release.
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July 16, 1999 is exactly 30 years to the day that Apollo 11 was launched.
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The movie is based on the movie that was released in the 1980s.
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The movie is based on the movie that was released in the 1980s.
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The movie is based on the movie that was released in the 1980s.
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The movie is based on the movie that was released in the 1980s.
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The movie is based on the movie that was released in the 1980s.
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The password for admittance.
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But may I ask what is the password for the house?
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The password for the house.
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Yes.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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I'm sorry.
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And that's where I'm going to go next because I'm going to show you that in fact Kubrick made a film which described the ordeal of faking the Apollo moon landing.
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Because overtly explaining that he was involved in the faking of the Apollo moon landings would probably cost him his life, Stanley chose a vehicle to describe what he went through to fake the Apollo moon landings.
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And I'm about to show you that that vehicle was the film The Shining.
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The Shining is surely Stanley Kubrick's most misunderstood masterpiece.
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I use the word masterpiece guardedly because I've never really thought that The Shining was a very good film.
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At the time in 1980 when I first saw it I didn't like it at all.
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The way that Kubrick threw out so much of Stephen King's great source material and replaced it with a lot of things that just didn't seem to make any sense really bothered me.
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Hopefully before I'm finished here you will see that it is only when Kubrick dramatically alters the script from Stephen King's novel that we can begin to understand what Stanley Kubrick is trying to tell us in his version of The Shining.
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It should be understood from the beginning that The Shining is Stanley Kubrick's most personal film outside of possibly eyes wide shut.
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Before we are done here it will be easy to see that Stanley Kubrick was only using Stephen King's novel as a launching pad, excuse the pun, to be able to tell us a completely different story under the guise of making a film based on a bestselling novel.
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He did this for a very important reason, mainly to save his life.
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But let's not get too far ahead of ourselves. In fact, let's start at the beginning.
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There are two main characters in the film, Jack Torrance, played by Jack Nicholson, and his son Danny, played by Danny Lloyd.
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It is important to understand here that Jack and Danny are two aspects of Stanley Kubrick himself.
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Jack is the practical, pragmatic guy who wants to be a great artist, and he's apparently willing to do anything to accomplish his goal of being an artist, a writer in this case.
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Jack, like Stanley, has black hair, he is idiosyncratic, and he even smokes the same cigarettes as Stanley, Marlboro.
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Danny is the other side of the great director. He is the childlike Kubrick. It is Danny who is the real artist.
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The Danny side of Kubrick is psychic, youthful, and sees things that no one else sees. Danny has a tendency to tell people things that should have been kept quiet.
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The opening of the film takes place with us witnessing Stanley's pragmatic side, Jack, cutting a deal with the manager of the Overlook Hotel.
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The deal between Jack and the manager of the Overlook is that Jack can write, that is, create all that he wants as long as he takes care of the Overlook.
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One other important point is that the manager of the Overlook tells Jack that the previous caretaker went crazy from the stress of the job and killed his wife and two girls.
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The manager of the Overlook Hotel, played by Barry Nelson, is wearing red, white, and blue.
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Jack's wife, Wendy, played by Shelley Duvall, and his son, Danny, also wear red, white, and blue for almost the entire first hour of the film.
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Yeah, I guess so. What about Tony? He's looking forward to the hotel, I bet.
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Why? He needs to go out.
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No, come on, Tony. Don't be silly.
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I don't want to go out there, Mrs. Torrance.
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Well, how come you don't want to go?
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I guess, don't.
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In this symbolic interpretation, the Overlook Hotel is America.
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It was built, just like the manager says, on the graves of Indians.
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Even when walking on the floor of the Overlook Hotel, one finds themselves trampling over various Native American symbols.
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The Overlook Hotel is America.
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Like America, the Overlook Hotel is new and shiny. It is ostentatious, corny, and architecturally boring.
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As the manager tells Wendy, all of the best people stay here.
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Lots of movie stars.
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Royalty.
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All the best people.
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But there is something very deep happening. Kubrick brushed shoulders with the elite of the world.
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He knows what's going on, and he's using this movie to tell us.
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We begin to understand Kubrick's story from his use of symbols.
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As I like to say, if a picture is worth a thousand words, then a symbol is worth a thousand pictures.
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For it will be through the use of symbol that the real story of the shining can be revealed.
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Jerry Nelson, who plays the manager of the Overlook, while interviewing Jack, has an American eagle right behind his head.
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It is as if the eagle is the power behind the manager.
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Not only is the eagle the symbol of America, but it should be noted that the Lutheran lander of the Apollo 11 mission was called the eagle.
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To the manager's left on the desk is an American flag.
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Symbolically, the manager is the face of the government of the United States.
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Jack has cut this deal with the government to be the caretaker of the hotel.
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It should be noted that Barry Nelson is wearing a toupee, which makes him look suspiciously like John F. Kennedy.
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The manager tells Jack that his main job is to prevent the Overlook Hotel, that is America, from appearing like it is decaying.
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The manager reiterates that this is Jack's primary responsibility.
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Physically, it's not a very demanding job.
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The only thing that can get a bit trying up here during the winter is a tremendous sense of isolation.
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On their first day in the hotel, Danny has a vision of the previous caretaker's daughters, and he sees that they are twins.
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The previous caretaker's daughters were not twins in the Stephen King novel.
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This discrepancy between the book and the film will grow in importance as we continue.
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Jack, Danny, and Wendy also meet Dick Halloran, who is the cook for the Overlook.
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He befriends Danny, and it is through him that Danny discovers that he is not alone when it comes to psychic ability.
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Dick warns Danny to stay away from room 237.
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Jack, Wendy, and Danny have now fully moved into the hotel. There is a long, cold winter ahead of them.
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At first, Jack loves the hotel, but he is having problems with his writing. Also, he cannot sleep.
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Meanwhile, Wendy and Danny are having fun.
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Jack is not writing. Instead, he is throwing a tennis ball at the wall in the room where his typewriter sits.
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On the wall, which is being struck by the tennis ball, is a Native American artistic motif that looks suspiciously like a group of rockets about to be launched.
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Finally, Jack throws the ball away, and it disappears into the darkness of the hotel.
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Jack walks over and looks down at the model of the maze which sits outside the hotel.
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He sees Wendy and Danny caught in the middle of the maze, totally unaware of the nature of the deal that he has cut with the Overlook.
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When Shelly, Duvall, and Danny are running towards the maze, Shelly says,
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The loser has to keep America clean.
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Remember, Jack's job is to keep the Overlook looking like it's new, even though it's not.
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The Overlook is America. The loser has to keep America clean.
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A cold winter storm has now blown over the hotel.
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The storm is a symbol of the Cold War between Russia and the United States.
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Of course, the Cold War is also one of the driving forces for the entire reason for faking the moon landings.
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We were living in a very dangerous world, and it was shrewd to hide our advanced technology from the Russians.
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This is one of the reasons for the bears that are seen all over the Shining.
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The Russian bear and his competition for the race to the moon was a driving force behind having to fake the Apollo moon landings.
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Jack, his family, and the Overlook hotel are trapped in the cold, just as America was trapped in the Cold War with Russia.
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The stuffed bears seen throughout the film are symbolically representing the Soviet Union's empire,
41:55.000 --> 41:59.000
but there are other explanations for these bears, and we'll get to them later.
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Symbolically, the bears seen through the film are also the representation of the pressure that the Russians put on the USA to get to the moon.
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Because he hides.
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Where does he go?
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To my stomach.
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Does Tony ever tell you to do things?
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I don't want to talk about Tony anymore.
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Danny is racing his tricycle down the hallways of the Overlook.
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Suddenly stops and sees the twin girls at the end of the hallway.
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In unison they say to Danny, come play with us Danny, forever and ever.
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Come play with us Danny.
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Forever.
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And ever.
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And ever.
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And ever.
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And ever.
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At this point in the film, we graphically discover the nature of the deal that Jack really has cut with the manager of the Overlook.
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It is the most crucial scene in the film.
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Danny is in a hallway playing with his trucks.
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Please note that the carpet has these strange hexagonal patterns in them with a long line in front of the hexagonal pattern.
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Now look at these pictures of Launch Pad 39 at Cape Canaveral and see that their launch pads look very similar to the patterns on the carpet that Danny is playing on.
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Also please note that Danny is playing with trucks and it looks almost as if the trucks and everything are on the launch pad surrounding the rocket.
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But where is the rocket?
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Suddenly out of nowhere, the Overlook hotel rolls the tennis ball from nowhere, the tennis ball that Jack lost earlier.
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It is a gesture and the gesture says, want to play?
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And then, mystified by where the ball came from, Danny stands up and the audience finally sees what the nature of the secret project is really about.
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As Danny stands up, the answer is revealed in an instant.
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Danny is wearing a sweater with a crudely sewn rocket pictured on the front.
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Above the rocket clearly seen on Danny's sweater are the words, Apollo 11.
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The audience watching the film literally sees the launch of Apollo 11 right before their eyes as Danny rises up from the floor.
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It isn't the real launch of Apollo 11, it is of course the symbolic launching of Apollo 11.
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In other words, it isn't real.
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What happens next is crucial to understanding everything else that happens in this film.
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Danny, bewildered, walks down the hallway.
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He sees that room 237, the room that Halloran warned him about, has a key in the lock and the door is wide open.
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It is important to note that the room in question was number 217 in the Stephen King version of The Shining.
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For reasons unknown, Kubrick changed it to 237.
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Those unknown reasons are about to become known.
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Danny is literally carrying a symbolic Apollo 11 on his body via the sweater to the moon as he walks over to room 237.
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Why do I think this? Because the average distance from the Earth to the moon is 237,000 miles.
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Now some people may argue with this and say that it's actually 238,000 miles and change.
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The moon is in a slightly elliptical orbit, which means sometimes the moon is much further away from the Earth than in other times.
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If you do the math and you figure it out, you can see that the true distance that the moon is from the Earth is 237,000 miles.
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Even more important to this argument, at the time that Kubrick faked the Apollo moon landings,
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it was common knowledge in the textbooks and the scientific work that the moon was 237,000 miles away from the Earth.
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This is the figure that Stanley was working with and that is why he changed the room from 217 to 237.
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The real truth is that this movie is really about the deal that Stanley Kubrick made with the manager of the Overlook Hotel, America.
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This deal was to get Stanley to recreate, in other words to fake, the Apollo moon landings.
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Danny represents the artistic side of Kubrick.
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Because of the complexity of the artistic realization of the manner in which the lunar landings needed to appear,
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Kubrick needed to trust his artistic side.
47:15.000 --> 47:22.000
Room 237 represents the fake lunar set that Stanley had to create to make the lunar landings appear factual.
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But really, on this set and in this room, nothing is real.
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As the film will soon reveal, room 237 has to be lied about. It cannot be understood at all. Ever.
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Nothing real ever happens in room 237.
47:37.000 --> 47:43.000
When Danny opens up the door to room 237, we see the tag attached to the key.
47:43.000 --> 47:52.000
And if you just look at the capital letters on the tag, you can see that it says room, R-O-O-M, and then N, and there's a small O.
47:52.000 --> 47:57.000
If we discard the small O, we're left with R-O-O-M and N.
47:57.000 --> 48:03.000
You can actually get two words out of it. And those two words are moon room.
48:03.000 --> 48:09.000
So here we have the tag attached to the key. It's in the door in room 237.
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And the letters on the tag come out to say moon room.
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Is this what Stanley called the lunar set?
48:19.000 --> 48:22.000
In the next scene, Jack has a bad dream while he is working.
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He tells Wendy that in his dream he has killed Wendy and Danny.
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I killed you and Danny.
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But I didn't just kill you.
48:36.000 --> 48:38.000
I cut you up in little pieces.
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Oh my God.
48:43.000 --> 48:44.000
I was going to...
48:44.000 --> 48:50.000
Meanwhile, Danny enters the scene, and it is obvious that some mysterious force has physically hurt Danny.
48:50.000 --> 48:54.000
This mysterious force has also torn his Apollo 11 sweater.
48:54.000 --> 48:57.000
Wendy, horrified, thinks that Jack did it.
48:57.000 --> 49:02.000
And in a way she is right, because Danny got hurt because of the deal that Jack cut.
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Frustrated, Jack goes to the bar located in the gold room.
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Obviously stressed, Jack whispers to no one that he would sell his soul for a drink.
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It is then that Jack meets the real manager of the Overlook Hotel.
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A mysterious man suddenly appears behind the bar.
49:17.000 --> 49:21.000
His name is Lloyd, and he is the bartender of the Overlook Hotel.
49:21.000 --> 49:25.000
Clearly Stanley Kubrick shows Lloyd in a satanic light.
49:25.000 --> 49:27.000
Lloyd seduces Jack with a drink.
49:27.000 --> 49:32.000
Jack has sold his soul to the project, to being the caretaker of the Overlook.
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Jack and Lloyd's conversation is interrupted by Wendy's entrance.
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Lloyd and Jack's glass of scotch suddenly disappear.
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Wendy tells Jack that someone else is in the hotel.
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She tells him that Danny was hurt by someone who is inside room 237.
49:46.000 --> 49:52.000
Jack then goes to room 237, and he sees the manifestation of a young woman into an old woman.
49:52.000 --> 50:01.000
I believe this scene occurs because at first Kubrick thought that directing the Apollo 11 and later moon landings was going to be a sexy job.
50:01.000 --> 50:08.000
But once he started in on the project and had to deal with the minutiae of trying to fake the Apollo moon landings day after day,
50:08.000 --> 50:12.000
quickly the sexy woman turns into an old hag.
50:12.000 --> 50:20.000
So the Apollo moon landing started out as a sexy project for Stanley, but soon it turned into the equivalent of kissing an old lady.
50:20.000 --> 50:28.000
Because room 237 is symbolic of the lunar set for Apollo 11, Jack has to lie to Wendy about what is going on in the room.
50:28.000 --> 50:34.000
He tells her that nothing is going on in room 237. It is apparent that Danny must have hurt himself.
50:42.000 --> 50:55.000
I think he did it to himself.
50:55.000 --> 51:05.000
No, that's not possible.
51:05.000 --> 51:22.000
Once you rule out his version of what happened, there is no other explanation, is there?
51:22.000 --> 51:27.000
Now that Jack has lied to his wife, he is able to see all of the spirits of the Overlook.
51:27.000 --> 51:34.000
Some of the best people stayed here. The secret group that rules the Overlook can finally be seen by Jack, Kubrick.
51:34.000 --> 51:44.000
He has been let into their posh society.
51:44.000 --> 51:48.000
Hi, Lloyd. Been a wave. Now I'm back.
51:48.000 --> 51:52.000
Good evening, Mr. Thomas. It's good to see you.
51:52.000 --> 51:55.000
It's good to be back, Lloyd.
51:55.000 --> 51:57.000
What let be so?
51:57.000 --> 52:01.000
The hair of the dog that bit me.
52:01.000 --> 52:06.000
Bourbon on the rocks. That'll do it.
52:14.000 --> 52:19.000
No charge, Mr. Thomas.
52:19.000 --> 52:22.000
No charge?
52:22.000 --> 52:27.000
Your money's no good here.
52:27.000 --> 52:32.000
Orders from the house.
52:32.000 --> 52:38.000
Orders from the house.
52:38.000 --> 52:43.000
Orders from the house.
52:43.000 --> 52:47.000
Drink up, Mr. Thomas.
52:47.000 --> 52:54.000
I'm the kind of man who likes to know who's buying their drinks, Lloyd.
52:54.000 --> 53:04.000
It's not a matter that concerns you, Mr. Thomas. At least not at this point.
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Anything you say, Lloyd. Anything you say.
53:09.000 --> 53:17.000
But at the party of rich people, Jack gets a drink spilled on him by the waiter, who turns out to be the previous caretaker who killed his twin daughters.
53:17.000 --> 53:26.000
In this we discover something profound. Although it looks like he, Jack, has been accepted into the secret high society, he is still just a servant.
53:26.000 --> 53:33.000
Jack will end up as a waiter, or a janitor, just like Grady, the previous caretaker, has ended up as a waiter.
53:33.000 --> 53:41.000
But Mr. Grady, who denies that he was the previous caretaker, tells Jack that Danny is informing someone about the secret Apollo hoax.
53:41.000 --> 54:00.000
I'm sorry to differ with you, sir. But you are the caretaker. You've always been the caretaker.
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I'm sorry to know, sir. I've always been here.
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Did you know, Mr. Torrance, that your son is attempting to bring an outside party into this situation?
54:33.000 --> 54:43.000
Did you know that? No.
54:43.000 --> 54:50.000
After this, Jack begins to go to hell physically. He starts growing an unkept beard and stops combing his hair.
54:50.000 --> 54:54.000
Two things that Stanley Kubrick was known for doing, or not doing, himself.
54:54.000 --> 55:02.000
Now Jack is looking a lot like Stanley Kubrick, especially as he begins to appear under the stress of the twin productions going on at once.
55:02.000 --> 55:07.000
One, 2001 A Space Odyssey, and two, baking the Apollo 11 landings.
55:07.000 --> 55:12.000
It should also be noted that Jack and Stanley are about the same age, and they have the same hair color.
55:12.000 --> 55:20.000
Early 2001 A Space Odyssey production photos show a youthful and unbearded Kubrick with combed hair, looking quite handsome.
55:20.000 --> 55:27.000
But photos taken four years later, near the end of the production of 2001 A Space Odyssey, show that Kubrick was a physical wreck.
55:27.000 --> 55:37.000
The de-evolution of Stanley Kubrick's appearance during the production of 2001 A Space Odyssey is disturbingly close to Jack Nicholson's appearance in The Shining.
55:37.000 --> 55:53.000
Despite his disheveled appearance, Jack has started writing again.
55:53.000 --> 56:00.000
Wendy, who is really supposed to be Kubrick's wife, Christiana, wants to read the book that Jack is working so furiously on.
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Jack angrily tears out the sheet of paper from his typewriter in order to prevent Wendy from seeing it.
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She asks to see what he is writing.
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Jack is surprised by her entrance into the room where he does his writing.
56:14.000 --> 56:18.000
Angrily, he rejects her. He tells her to stay out of the room where he is writing.
56:35.000 --> 56:44.000
Wendy, I'll come back later on with a couple of sandwiches for you and maybe you'll let me read something then.
56:44.000 --> 56:49.000
Wendy, let me explain something to you.
56:49.000 --> 56:53.000
Whenever you come in here and interrupt me, you're breaking my concentration.
56:53.000 --> 56:58.000
You're distracting me and I will then take the time to get back to the area I was.
56:58.000 --> 57:01.000
Understand?
57:01.000 --> 57:03.000
Yeah.
57:03.000 --> 57:05.000
Fine.
57:05.000 --> 57:07.000
And we're going to make a new rule.
57:07.000 --> 57:13.000
Remember, I'm in here and you hear me typing.
57:13.000 --> 57:16.000
But whether you don't hear me typing, what the fuck do you hear me doing in here?
57:16.000 --> 57:18.000
When I'm in here, that means that I am working.
57:18.000 --> 57:21.000
That means don't come in.
57:21.000 --> 57:26.000
Now, do you think you can handle that?
57:26.000 --> 57:28.000
Yeah.
57:28.000 --> 57:30.000
Fine.
57:30.000 --> 57:35.000
Why don't you start right now and get the fuck out of here?
57:35.000 --> 57:39.000
After he is done telling her to stay out of the room, he goes back to the typewriter.
57:39.000 --> 57:42.000
But now it has somehow put a new page into the typewriter.
57:42.000 --> 57:46.000
Jack is not surprised that the typewriter has a new page in it and goes back to writing.
57:46.000 --> 57:49.000
Is this a continuity error? Hardly.
57:49.000 --> 57:54.000
Kubrick is clearly showing us that whatever Jack is writing must be hidden from his wife.
57:54.000 --> 57:58.000
But more importantly, he is saying that the overlook hotel itself,
57:58.000 --> 58:02.000
that is America, which is feeding the paper into Jack's typewriter,
58:02.000 --> 58:06.000
Kubrick succinctly shows us that it is not Jack who is in charge of this thing.
58:06.000 --> 58:16.000
It is the Overland.
58:16.000 --> 58:21.000
It is clear that Wendy, Kubrick's wife, is not allowed to know anything about the project.
58:21.000 --> 58:23.000
But what is this book that Jack is writing?
58:23.000 --> 58:26.000
Wendy soon finds out what is in the book that Jack is working on.
58:26.000 --> 58:32.000
It is then that we get the clincher that proves that this point of view is the correct interpretation of Kubrick's The Shining.
58:32.000 --> 58:34.000
Wendy sneaks into Jack's writing room.
58:34.000 --> 58:38.000
Slowly she begins to read the book that Jack has been working on.
58:38.000 --> 58:40.000
Now this scene is totally original to the movie.
58:40.000 --> 58:42.000
It is not in the King novel.
58:42.000 --> 58:46.000
Although it is mildly terrifying, it is not that horrific.
58:46.000 --> 58:50.000
Yet it is the centerpiece of the film and arguably the scariest scene in the movie.
58:50.000 --> 58:51.000
Why?
58:51.000 --> 58:58.000
Because every single one of the hundreds of pages that Jack has been furiously writing is a variation of only one sentence.
58:58.000 --> 59:02.000
All work and no play makes Jack a dull boy.
59:02.000 --> 59:07.000
Incredibly, every page has this exact sentence and it is written over and over.
59:07.000 --> 59:13.000
Truly, it is scary enough to think that Jack has been sitting there, day after day, writing the same sentence over and over.
59:13.000 --> 59:17.000
Wendy's face reveals her fear over this discovery.
59:17.000 --> 59:18.000
What does it all mean?
59:18.000 --> 59:25.000
May I humbly suggest that the word all in this repeated sentence actually stands for A11.
59:25.000 --> 59:27.000
That is, Apollo 11.
59:27.000 --> 59:31.000
A11 work and no play makes Jack a dull boy.
59:31.000 --> 59:38.000
May I suggest that the nickname or codename for the faking of the Apollo moon missions was A11.
59:48.000 --> 59:58.000
Accepting that this is true, we can see what Stanley is really telling us.
59:58.000 --> 01:00:05.000
Apollo 11 work and no play makes Jack, Kubrick, a dull boy.
01:00:05.000 --> 01:00:12.000
If you think that I am stretching things here, I would like to point out the patch that NASA had created to symbolize the Apollo program.
01:00:12.000 --> 01:00:15.000
There are other A's in the film also.
01:00:15.000 --> 01:00:20.000
The Overlook Hotel has several A's built into its construction when viewed from the outside.
01:00:20.000 --> 01:00:23.000
Stanley has used these A's before.
01:00:23.000 --> 01:00:30.000
Here is the cover of A Clockwork Orange with Alex menacingly coming out of the A with his all-seeing eye coupling.
01:00:30.000 --> 01:00:43.000
It is clear that the evidence presented in the film that Kubrick's wife, Shelley Duvall, had discovered that he, Stanley Kubrick, had made a secret deal with the manager of the Overlook, i.e. with the rulers of the USA.
01:00:43.000 --> 01:00:50.000
Shelley Duvall, i.e. Christiana Kubrick, also discovered that what she thought was one thing actually turned out to be another.
01:00:50.000 --> 01:01:00.000
What Mrs. Kubrick discovered was that instead of making a science fiction film called 2001 A Space Odyssey, her husband was really working to create the fake Apollo moon landings.
01:01:00.000 --> 01:01:03.000
At this point, the film gets really interesting.
01:01:03.000 --> 01:01:08.000
Frightened by this revelation, Wendy wants Jack, Stanley, to quit the project.
01:01:08.000 --> 01:01:13.000
Jack, Stanley angrily replies, That is so typical of you.
01:01:13.000 --> 01:01:17.000
I've made an agreement. I have obligations to my employers.
01:01:17.000 --> 01:01:24.000
Jack looks at her and says, Do you have any idea what would happen to my future if I failed to live up to my responsibility?
01:01:38.000 --> 01:01:46.000
Have you ever thought for a single solitary moment about my responsibilities to my employers?
01:01:46.000 --> 01:01:52.000
Has it ever occurred to you that I have agreed to look after the Overlook Hotel until May the 1st?
01:01:52.000 --> 01:02:04.000
Does it matter to you at all that the owners have placed their complete confidence and trust in me and that I have signed a letter of agreement, a contract in which I have accepted that responsibility?
01:02:04.000 --> 01:02:10.000
You have the slightest idea what a moral and ethical principle is, do you?
01:02:10.000 --> 01:02:18.000
Has it ever occurred to you what would happen to my future if I were to fail to live up to my responsibilities? Has it ever occurred to you?
01:02:20.000 --> 01:02:27.000
Danny uses his gift of the shining to contact Dick Halloran in Florida, which I might add is where Apollo 11 was launched.
01:02:27.000 --> 01:02:30.000
Dick laboriously travels from Florida to Colorado.
01:02:30.000 --> 01:02:33.000
Pardon me, miss. What time will we get to Denver?
01:02:33.000 --> 01:02:35.000
We would do to arrive at 8.20, sir.
01:02:35.000 --> 01:02:37.000
Thank you very much.
01:02:40.000 --> 01:02:46.000
In King's novel, Jack has a red Volkswagen, but Kubrick changed it to a yellow Volkswagen in the film.
01:02:46.000 --> 01:02:53.000
When Halloran is driving to the Overlook in the snowstorm, he sees a red Volkswagen completely wrecked by a semi-truck.
01:02:53.000 --> 01:03:03.000
This is a cold-hearted message directly from Stanley Kubrick to Stephen King that his vehicle, the novel The Shining, has been wrecked by Kubrick and replaced with Kubrick's version.
01:03:03.000 --> 01:03:13.000
I really have to wonder what Stephen King thought of Kubrick's film when he saw this scene, especially since he was probably the only one in the world who understood Stanley's message.
01:03:13.000 --> 01:03:19.000
In another abrupt break with the novel, Jack Torrance kills Halloran as soon as he arrives at the Overlook.
01:03:19.000 --> 01:03:22.000
So much for Halloran's psychic abilities.
01:03:22.000 --> 01:03:32.000
Well, I think this scene is very disturbing, and I doubt if I can ever prove this, but I think Stanley Kubrick is telling us something very definite with this alteration to the King novel.
01:03:32.000 --> 01:03:39.000
I believe that the naive side of him, represented by Danny, told someone that he, Kubrick, was faking the Apollo moon landings.
01:03:39.000 --> 01:03:47.000
He may have even told this person that he was faking the lunar landings for NASA while appearing to produce the film 2001 A Space Odyssey.
01:03:47.000 --> 01:03:53.000
Halloran is the representation of the person that Kubrick mistakenly revealed this most secret of all information.
01:03:53.000 --> 01:04:00.000
When Halloran and Danny have a conversation about The Shining, Halloran warns Danny to stay away from room 237.
01:04:00.000 --> 01:04:05.000
He says, you ain't got no business going to room 237, so just stay out.
01:04:05.000 --> 01:04:16.000
As Halloran is the only person to warn Danny, Stanley, about room 237, the moon landing stage, Stanley went to this mysterious confidant and told him that he was right.
01:04:16.000 --> 01:04:21.000
Stanley should have stayed away from room 237, the moon landing stage.
01:04:21.000 --> 01:04:28.000
Because of that, Halloran, or the person who Stanley told, had to die. The secret must remain safe.
01:04:29.000 --> 01:04:32.000
There's no room 237, ain't ya?
01:04:34.000 --> 01:04:36.000
No, I ain't.
01:04:37.000 --> 01:04:41.000
Mr. Halloran, what is in room 237?
01:04:42.000 --> 01:04:47.000
Nothing. There ain't nothing in room 237.
01:04:47.000 --> 01:04:53.000
But you ain't got no business going in there anyway, so stay out.
01:04:53.000 --> 01:05:00.000
This also explains why Kubrick had to hide all of this crucial information inside the construct of the King novel.
01:05:00.000 --> 01:05:04.000
Kubrick wanted the story to get out, but he was also afraid for his life.
01:05:05.000 --> 01:05:12.000
Kubrick had to fake the making of the Stephen King novel so that he could reveal that he was involved in faking the moon landings.
01:05:12.000 --> 01:05:20.000
The truth is that The Shining is the story of how Stanley Kubrick cut a deal with the US government to fake the Apollo moon landings.
01:05:20.000 --> 01:05:27.000
It is also the story of how Kubrick may have accidentally told someone what he had done and how that person had to be killed.
01:05:27.000 --> 01:05:33.000
The Shining is also the story of how faking the moon landings almost sacrificed his relationship with his wife.
01:05:33.000 --> 01:05:38.000
Finally, it is the story of how Stanley Kubrick barely escaped alive.
01:05:38.000 --> 01:05:49.000
The Shining is the story of how a part of Stanley Kubrick was killed by the agreement that he made with the US government to become the caretaker with a project called A11 or Apollo 11.
01:05:51.000 --> 01:05:53.000
It is also the history of NASA.
01:05:53.000 --> 01:05:59.000
This explains why the previous caretaker was so pressured and stressed that he had to kill his twin daughters.
01:05:59.000 --> 01:06:00.000
Why?
01:06:00.000 --> 01:06:05.000
Because the previous NASA missions before Apollo were named Gemini.
01:06:05.000 --> 01:06:07.000
The Gemini are twins.
01:06:07.000 --> 01:06:13.000
This is why Kubrick switched the girls from just being sisters to being twins.
01:06:13.000 --> 01:06:21.000
At one hour and 55 minutes into the film, Jack wakes up in the pantry surrounded by boxes that say 39,000.
01:06:21.000 --> 01:06:25.000
Apollo 11 took off from launch pad 39.
01:06:26.000 --> 01:06:30.000
Other boxes say Golden Ray, which is what comes from Apollo, the sun god.
01:06:30.000 --> 01:06:35.000
Finally, we see Tang, the drink that went to the moon with the astronauts.
01:06:41.000 --> 01:06:47.000
And finally, the ending shot of The Shining has Jack at a Fourth of July party in 1921.
01:06:47.000 --> 01:06:50.000
In his right hand, he is holding a secret note.
01:06:50.000 --> 01:06:56.000
There is also a gentleman behind Jack who is trying to stop him from showing us the secret note.
01:06:56.000 --> 01:06:58.000
What is in this secret note?
01:06:58.000 --> 01:07:00.000
You have just found out.
01:07:20.000 --> 01:07:27.000
Get the President out of the way and hire Stanley Kubrick
01:07:27.000 --> 01:07:36.000
Under the Masonic Moon
01:07:36.000 --> 01:07:43.000
Under the Masonic Moon
01:07:43.000 --> 01:07:47.000
Under the Masonic Moon
01:07:47.000 --> 01:07:53.000
Everyone hoped that the boys would come home soon
01:07:53.000 --> 01:08:04.000
One more day and they'll drop from the plane and splash into the ocean
01:08:04.000 --> 01:08:09.000
Under the Masonic Moon
01:08:13.000 --> 01:08:21.000
Werner von Braun and his conspirators got a free ride to the States
01:08:21.000 --> 01:08:32.000
They turned Nazi into Nassau, they just couldn't wait
01:08:32.000 --> 01:08:37.000
Under the Masonic Moon
01:08:43.000 --> 01:08:48.000
Under the Masonic Moon
01:09:13.000 --> 01:09:17.000
Under the Masonic Moon
01:09:17.000 --> 01:09:23.000
Plans were made by the bankers in the back room
01:09:23.000 --> 01:09:32.000
The owl sees into the night and the secret will never be told