http://nightflight.com/operation-lune-how-stanley-kubrick-faked-the-apollo-11-mo...“Opération Lune”: How Stanley Kubrick faked the Apollo 11 moon landing
“In six days God created the heavens and the earth. On the seventh day, Stanley Kubrick sent everything back for modifications.” So begins the voiceover narration for Opération Lune (English title: Dark Side of the Moon), William Karel’s 2002 French documentary exposé on how director Stanley Kubrick helped NASA fake the 1969 Apollo 11 moon landing.
The documentary featured interviews from many key players in NASA and the US government, including astronaut Edwin “Buzz” Aldrin, Alexander Haig, Richard Helms, Henry Kissinger, and Donald Rumsfeld, to name just a few, as well as Kubrick’s widow Christiane Kubrick and her brother, his surviving brother-in-law, executive producer Jan Harlan.
It begins with the startling revelation that Kubrick was approached to film footage for the Apollo 11 moon landing in a studio setting; NASA had wanted a fallback contingency plan in case astronaut Neil Armstrong’s first steps could not be filmed, knowing that this was going to be a global event seen worldwide. If there were any problems, and the actual first steps on the moon were not captured, then NASA and other branches of the U.S. government were afraid that it would cause unforeseeable problems, and perhaps even embolden our enemies, and so they wanted something to show viewers so that any issues that Apollo 11 were having could be dealt with privately.
In exchange for creating this film footage, NASA would loan Kubrick a unique and secretive camera lens that he had wanted to use on his movie Barry Lyndon, which he was already involved with in production. That lens — identified as Carl Zeiss 50mm f/0.7, which had been designed by Zeiss in 1966 on a special request for the Apollo program — was initially created by NASA to be used by the U.S. government for the purposes of Cold War spying. The narrator tells us the lens was the only one capable of filming in pitch darkness (the narrator for the original French version was Philippe Faure, and was later redone in English by Andrew Solomon).
Ten of these lens were made, and Barry Lyndon’s cinematographer, John Alcott, claimed that Kubrick brought three of the leftover lenses from this batch that had been sold to NASA, and they had to be extensively modified for him to be able to use on his 35mm movie camera (one of the lenses is located in the German Movie Museum in Frankfurt).
Kubrick with NASA officials in the late 60s. Left to right: Frederick Ordway (in white), Deke Slayton, Arthur C. Clarke, unidentified man (behind Clarke), Stanley Kubrick, George Mueller
Arthur C. Clarke talking to Kubrick in England. George Mueller of NASA is on the far right.Co-produced by Point du Jour Production and ARTE France, the documentary was first air on French TV on October 16, 2002, and there was quite a bit of interest in the topic of whether or not Kubrick had filmed this footage. It was aired again on SBS TV in Australia on April 1, 2003 (note the date), and then a year later, at least ten television channels worldwide on the same calendar date, April 1, 2004, and afterwards the TV audience were treated to a debate, and also sent to a website which featured an interview with the director.
In England it was aired on Channel 4, but not until September that same year (initially the BBC had rejected it because they perceived it as being part of an “anti-American campaign” in French documentaries), and in 2005, it was broadcast on the Canadian TV series “The Passionate Eye”, who described it this way:
How could the flag flutter when there’s no wind on the moon? During an interview with Stanley Kubrick’s widow an extraordinary story came to light. She claims Kubrick and other Hollywood producers were recruited to help the U.S. win the high stakes race to the moon. In order to finance the space program through public funds, the U.S. government needed huge popular support, and that meant they couldn’t afford any expensive public relations failures. Fearing that no live pictures could be transmitted from the first moon landing, President Nixon enlisted the creative efforts of Kubrick, whose 2001: a Space Odyssey (1968) had provided much inspiration, to ensure promotional opportunities wouldn’t be missed. In return, Kubrick got a special NASA lens to help him shoot Barry Lyndon (1975).
all having a good ole belly laugh at the masonic signs being displayed
the " profane " ( you ) are so stupid ! they say
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