In post #1 of this thread Dime DR asserted the following:
Quote:
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i will give you a hint, it was done on a sound stage in NV with Disney's help and the apollo 11 mission, anyhow, was directed by Stanley Kubrick ... </TD></TR></TBODY></TABLE>
My response in post #7 was:
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Stanley Kubrick was a perfectionist,it took him years to finish 1 movie.Yet you suggest he worked for Disney in his spare time pulling off the greatest swindle ever.
You can't be serious about any of this total nonsense.
Another thing motive.what is it?
Why would the US government go to such great lengths to stage fake lunar landings,when the resources and expertise were available to actually do it.
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Stanley Kubrick did direct a moon landing which was part of the film 2001:A Space Odyssey,an MGM Studios release.
Maybe the production values in this movie masterpiece account for the myth of Kubrick's involvement in directing faked Apollo Program events.
Arthur C. Clarke,Stanley Kubrick,on the set of 2001:A Space Odyssey:
http://peidisabilityalert.blogspot.com/2008/03/obituaries-arthur-c-clarke-90-science.html
2001: A Space Odyssey
From:
http://en.wikipedia.org/wiki/Stanley_Kubrick
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2001 is the first of many Kubrick films to use an all-classical score. Kubrick's famed opening shot of the Sun, Earth, and Moon is one of several accompanied by Richard Strauss's majestic fanfarelike Also sprach Zarathustra. Space flight is accompanied by Johann Strauss's graceful The Blue Danube, and all appearances of the monolith are accompanied by the unearthly modernistic Requiem by Gyorgi Ligeti.
Kubrick spent five yeas developing his next film,2001: A Space Odyssey (1968). The film was conceived as a Cineramaspectacle and was photographed in Super Panavision 70.
Kubrick cowrote the screenplay with science fiction writer Sir Arthur C. Clarke, expanding on Clarke's short story "The Sentinel." Kubrick reportedly told Clarke that his intention was to make "the proverbial great science fiction film."
2001 begins four million years ago with an encounter between a group of apes and a mysterious black monolith, which seems to trigger in them the ability to use a bone as both a tool and a weapon. Use as the latter allows them to claim a water hole from another group of apes, who have no tool-wielding ability. A victorious ape tosses his bone into the air, at which point the film makes a celebrated jump cut to an orbiting weapons satellite, circa 2000. At this time, a group of Americans at their moon base have dug up a similar monolith. Geological evidence indicates that it was deliberately buried four million years ago.
When the sun rises over the monolith, it sends a radio signal to Jupiter. Eighteen months later, the U.S. sends a group of astronauts aboard the spaceship Discovery on a mission to Jupiter, the purpose of which is to investigate the monolith's signal, although this is concealed from the crew. During the flight, the ship's sentient HAL 9000 computer malfunctions but resists disconnection, believing its control of the mission to be crucial. The computer terminates life support for most of the crew before it is successfully shut down. The surviving astronaut,David Bowman (Keir Dullea),in a tiny space pod, encounters another monolith in orbit around Jupiter, whereupon he is hurled into a portal in space at high speed, witnessing many astronomical phenomena.
His interstellar journey concludes with his transformation into a mysterious new being resembling a fetus enclosed in an orb of light, last seen gazing at Earth from space.
The film was a massive production for its time. The special effects, then considered groundbreaking, were overseen by Kubrick and were engineered by a team that included special effects pioneer Douglas Trumball [Silent Running,Blade Runner). Kubrick extensively used traveling matte photography to film space flight, a technique also used nine years later by George Lucas in making Star Wars, although that film also used motion-control effects that were unavailable to Kubrick at the time. Kubrick used an innovative use of slitscan photography to film the Stargate sequence. The film's striking cinematography was the work of legendary British director of photography Geoffrey Unsworth, who would later photograph classic films such as Cabaret and Superman. Manufacturing companies were consulted as to what the design of both special-purpose and everyday objects would look like in the future. At the time of the movie's release, Arthur C. Clarke predicted that a generation of engineers would design real spacecraft based upon
2001 "?even if it isn't the best way to do it."The film also is a rare instance of portraying space travel realistically, with complete silence in the vacuum of space and a realistic representation of weightlessness.
Although it eventually became an enormous success, the film was not an immediate hit. Initial critical reaction was extremely hostile, with critics attacking the film's lack of dialogue, slow pacing, and seemingly impenetrable storyline. One of the film's few defenders was Penelope Gilliat, who called it (in the
New Yorker) "some kind of a great film."
Word of mouth among young audiences?especially the 1960s countercultureaudience, who loved the movie's "Star Gate" sequence, a seemingly psychedelic journey to the infinite reaches of the cosmos?made the film a hit. Despite nominations in the directing, writing, and producing categories, the only Academy Award Kubrick ever received was for supervising the special effects of
2001: A Space Odyssey.
Artistically,
Odyssey was a radical departure from Kubrick's previous films. It contains only 45 minutes of spoken dialogue, over a running time of two hours and twenty minutes. The fairly mundane dialogue is mostly superfluous to the images and music. The film's most memorable dialogue belongs to the computer HAL in HAL's exchanges with Dave Bowman. Some argue that Kubrick is portraying a future humanity largely dissociated from its environment. The film's ambiguous, perplexing ending continues to fascinate contemporary audiences and critics. After this film, Kubrick would never experiment so radically with special effects or narrative form, but his subsequent films maintain some level of ambiguity.
Interpretations of
2001: A Space Odyssey are numerous and diverse. Despite having been released in 1968, it still prompts debate today.
When critic Joseph Gelmis asked Kubrick about the meaning of the film, Kubrick replied:
They are the areas I prefer not to discuss, because they are highly subjective and will differ from viewer to viewer. In this sense, the film becomes anything the viewer sees in it. If the film stirs the emotions and penetrates the subconcious of the viewer, if it stimulates, however inchoately, his mythological and religious yearnings and impulses, then it has succeeded.