“Stanley supervises the minutest details of his films, right down to items that appear so fleetingly on the screen that not one person in a thousand will ever notice them.”
Arthur C. Clarke on collaborating with director Stanley Kubrick
New York magazine, April 8, 1968
There is a plethora of visual evidence that the Apollo record was pre-created/manufactured. This investigation has found and evaluated documentation pointing to the fact that reaching the Moon and descending onto its surface with a crewed spacecraft was deemed to be beyond the technical capabilities of the 1960s, therefore a strategy of the last resort was decided upon – the Apollo Simulation Project (ASP) – a poisoned apple.
It is further suggested that by the 1960s, space travel – even to just above the atmosphere – was found to exert unforeseen stresses on the human body, so these physical limitations made it both acceptable and expedient to pre-create the Apollo mission imagery including the lunar surface EVAs here on Earth, under highly secret conditions.
Further, the political and economic situations of that time (both internationally and within the US) were sufficient motivation to provide the unlimited funding required for such a project. And with all the experience acquired within the Hollywood film factory as a propaganda machine during WWII, there was sufficient confidence that it only required a dedicated team of top people to pull off the simulation project. So let’s see where such a scenario takes us.
Where could such a project take place?
The ideal location for a secure, remote facility would have to be somewhere other than Hollywood and its environs because the movie town is a little too gregarious for such a major project to be securely contained. One candidate, the top-secret US government production studio and post facilities such those at Lookout Mountain Laboratories in Laurel Canyon California, home of the 1352nd ASAF Motion Picture Squadron from 1947-69, couldn’t provide the height and studio size required for such an enterprise. Some people studying the Apollo record have suggested that the filming and photography could have taken place in the deserts of the US, but not many have considered the likelihood of the project being instigated outside the United States.
Fig 1. Lookout Mountain Laboratories 1947-69, Laurel Canyon, USA, archive
It’s our view at Aulis that one of the required factors for successfully pulling off this major undertaking was a two-faced operation. The practice sessions of the astronauts' EVAs were conducted in full view of observers and the media in the USA. While the actual pre-recorded material for the early Apollo lunar missions was photographed in secret at a large, highly secure location in the UK.
Now for the ideal profile of an individual required to conceive and direct all this audio/visual material. Researching and deciding on the best way to approach bringing this massive project to the screen would have required a first class brain. This undertaking had to be coordinated and carried out according to the dictates of the best photographer/cinematographer and film director available. The ideal person would also need to be able to access the selected facility where such filming was to take place easily and discreetly – and that brings us to the security requirements.
If not susceptible to persuasion on political grounds, and if a top-security clearance was deemed insufficiently binding, then such a person would have to be otherwise incentivized. By that we suggest that as with the famous line spoken by the Godfather Corleone in the eponymous movie of 1969, the putative director would have been presented with ‘an offer he can't refuse’. Vivian Kubrick has defended her father in this regard, and in 2016 stated “that my father conspired with the US Government to ‘fake the moon landings' – is manifestly a Grotesque Lie.” (A sentiment with which we wholeheartedly concur.) For a man of Kubrick’s character, there would have been no conspiring voluntarily, it would have been something he absolutely could not avoid. And the only option for keeping himself and his loved ones safe would mean not speaking about this top secret job to anyone at all. Forever and ever and ever.
Were there any unique technical qualifications required for such a task? Yes, there were. By the very nature of the project it had to be accomplished within doors, but as it entailed portraying the environs and surface of the Moon uniquely lit by sunlight with no atmospheric filter, the job would demand an exceptional command of the artificial lighting required in such circumstances.
Even if Kubrick’s many biographies1 clearly reveal a man possessed of all the necessary skills needed to fulfil these criteria, the jury is still out as to exactly what extent and how he might have become involved in such a project. Was he a technical consultant without necessarily always being on the set? Or was he asked to consult on certain aspects of filming the overt and very official Apollo record for a certain amount of time, and much like Jack’s caretaker stint at the Overlook Hotel, did he then have too much baggage invested in the one project – and knowing too much, find himself trapped by circumstances in the covert but equally official ASP?
It is now known that the Apollo program itself was a cover for building and launching the CORONA imaging reconnaissance spy satellites (operated by the CIA with the US Air Force) – so this hiding of one program within plain sight was a well-used ploy.
The US manned space program got underway in 1958, known as Mercury from 1958 to 1961. Then Gemini from 1961 through to 1966, while Apollo ran in parallel from 1961 through to 1972, and then on to 1975 with the closing out Apollo-Soyuz handshake in LEO. Somewhere along the way a plan to adopt the skills acquired by Hollywood’s movie makers for promotion of the space program and/or a cover for the manned space program’s covert activities must have been put in motion. Space historians would note that the assassination of President Kennedy on November 22, 1963 was one such turning point in the NASA timeline.
Film buffs would note that this date was only four months before pre-production of 2001: A Space Odyssey got underway. So one might start by asking if the making of 2001 was used as a cover for the ASP project without the director’s knowledge? In other words, was Kubrick played by NASA & Co from the outset?
Fig 3. Loew’s Capitol Cinerama Theatre, NY on April 6, 1968, archive
The film cost $10.5million to put on the big screen, and in a record not equalled to this day, it would eventually take four years from 1964 pre-production to its first public screening in 1968 when it premiered in the Cinerama theatre, New York on April 6. But then, if this film was initially commissioned as a cover for other shenanigans within the official Apollo program, that costly outlay would have been perfectly acceptable to those footing the bills and the lengthy schedule a necessary requirement for those managing the program.
All of these hypotheses as to how Stanley Kubrick might have been involved have some validity. But when visual clues referencing specific actions taken by Kubrick within his own films are also seen within the images comprising the Apollo photographic record itself – as we saw in Part One of Stanley Kubrick and Apollo, then, whether he was simply a consultant who sussed more than he was expected to, or whether he was trapped into an impossible situation, we might ask if Kubrick used the overall creative trajectory of his films – along with the contents and his particular methodology of filming – to subtly alert the observant viewer to the reality behind the Apollo record.
For those with eyes to see and in answer to Vivian’s question, “How can anyone believe that one of the greatest defenders of mankind would commit such an act of betrayal?” – we would reply, “He didn’t. Under great constraints, he used the medium of film to tell us all exactly who the betrayers of both his and our trust really were”. With the benefit of time it is becoming clear that the roots of this situation go back much further into the past, and personal memoirs now being published are revealing agendas other than Kubrick’s were tied into the making of 2001. A film which Kubrick declined to explain to the critics, simply stating that while each person would make up their own mind as to what the experience of seeing it brought to them, the medium of film was better suited to the subconscious mind.
This was also the case for his subsequent films all of which contain references which can be construed as referring to the circumstances surrounding the Apollo missions. So the question is: Did Stanley Kubrick dedicate his life’s work to revealing visually that which could not be spoken of – ever? Vivian Kubrick said that “My father’s artistic works are his unimpeachable defense!” Again, we wholeheartedly concur, and to study this further we need to reconstruct some of Kubrick's UK filmmaking background.
Film Production in the UK
The first film he made in Britain (with Peter Sellers playing more than one role) was Lolita. Released in 1962, Kubrick separated from his producer James B. Harris and went on to make Dr. Strangelove or: How I learnt to Stop Worrying and Love the Bomb in the UK. Interestingly, using Peter Sellers in multiple roles was a stipulation of the contract with Columbia Pictures.
By November 22, 1963 Dr.S was ready for a test screening prior to its release a few weeks later. However the JFK assassination put its actual release date back until January 29, 1964, by which time Kubrick, having purchased a penthouse near Central Park was back in New York and working out of his Polaris Production offices.
Kubric had not entirely endeared himself to the US government’s DoD, nor did Peter Seller’s portrayal of Wernher von Braun as the mad scientist please NASA. If vengeance is a dish best served cold, then the cold war film Dr. Strangelove was certainly a trigger for any such sentiment, especially if the initial concept based on the book Red Alert had been intended as a propaganda message disguised as Hollywood entertainment. Kubrick’s treatment completely subverted any notion that the US was a pre-eminent nuclear power, while its overly long title no doubt did little to enthuse Columbia’s PR department. For Dr.S this was one Roger Caras, and it would be Caras, having known Arthur C. Clarke since 1959 who would engineer the introduction that would lead to the making of 2001.
On March 31, 1964 Kubrick wrote to Clarke concerning his desire to make "the proverbial really good Sci-Fi film". Kubrick listed three areas of broad interest. The first two were "to explore the reasons for believing in the existence of intelligent extra terrestrial life" and "the impact (and perhaps even lack of impact in some quarters) such a discovery would have on Earth in the near future."
Interestingly, his third item listed the planets that he wanted his space probe to land on and explore but there was no mention of Jupiter and Saturn, the outer solar system’s large gas planets that would eventually become the ETI point of origin in the film and the book respectively. The planets listed by Kubrick were the Moon and Mars. Precisely the two inner solar system planetary bodies that most interested NASA and its rocket man Wernher von Braun.
Therefore it is unsurprising that subsequent Kubrick biographies2 have revealed that this film was initially intended by NASA to be an educational tool for the public as to the presence of ETI in our neighbourhood. However, when it was finally screened Kubrick had removed all the expected ‘educational’ dialogue, to the great displeasure of NASA and its representatives, and left it to the each member of the public to make up their own mind as to the content of his film and its implications.
Given his treatment of Dr.S, one might say that Kubrick had form for subverting government intentions and therefore the powers that be (MGM for Hollywood, NASA for the US government) should have been alert to the possibilities of further mayhem. But needs must, and after nearly a year of pre-production on February 17, 1965 MGM announced the forthcoming Kubrick production as Journey Beyond the Stars with an expected release date of around 1966. Clarke saw things differently, saying that, “We knew that the film would be released when man had reached the moon or had failed to reach the moon – either scenario could affect the reception of the movie.”
As the Gemini component of the space program would extend until 1966, Clarke’s comment very much suggested that from very early on, he at least was aware that the film’s production was required to keep pace with the Apollo phase of the manned space program.
In late July 1965 Stanley Kubrick and his family, while retaining his New York penthouse, had moved to the Dorchester Hotel in London to prepare for filming in the UK. The first day of principal photography was December 30, 1965. And it's perhaps a portent that the very first week’s shooting was that of the US astronauts discovering the lunar monolith. This took place at Shepperton Studios just outside London. Shepperton’s Stage H was touted as the largest sound stage in the UK available at the time with 30,000 square feet of space, making it eminently suited to the shooting of the lunar monolith set designed by Kubrick.
The descent into the’ excavated pit’ was filmed on December 31 by the master himself. Carrying a heavy Mitchell camera and supported by technicians, his reflection can be seen in Heywood Floyd’s helmet as he is moving down the ramp. As a quick aside, the red alert in that particular scene relative to whistle-blowing the Apollo shenanigans, lies in the fact that the astronauts reacted as if they were actually hearing the piercing sound emitted from the monolith. According to the public's understanding of the 1960s, the lack of an atmosphere on the Moon precluded the ability to actually hear anything at all. As the scientists kept reiterating: in space no one can hear you scream. Artistically, this scene can be interpreted either as poetic license or a nod to scientific understandings not available to the general public (see Appendix 1).
Fig 4. Routes between MGM Borehamwood, Kubrick’s house (Abbots Mead), and Shepperton Studios, Google Map data ©2020 United Kingdom
On January 7 the production started filming in Borehamwood also near London, using seven sound stages of MGM's British Borehamwood Studios. MGM would end up leasing the entire studio complex to Kubrick – unheard of in the annals of movie making, this meant that Stanley eventually had the exclusive use of all ten soundstages as well as the backlot, along with the attendant workshops.
Fig 5. MGM British Borehamwood Studios c.1965, archive
As has been recorded in numerous accounts,3 this project was fully supported and guided by NASA, along with its attendant organisations and personnel. Space suit concepts, lunar terrain expertise, expert model makers, miniature modellers, animators, mannequin specialists, top lighting experts and talented special effects people. Everything was made available to Kubrick.
NASA’s Frederick Ordway II was on site in the UK. In the 1950s Ordway was a USAF intelligence officer with specialist knowledge of rocketry, liaising with Soviet officers and feeding that information back to the FBI. And by 1956 or 1959, depending on which page of his autobiography you read, he was liaison to rocket specialist Wernher von Braun at the Huntsville Army Ballistic Missile Agency (ABMA) in Texas. According to author Michael Benson,4 as the production’s technical consultant, Ordway wooed aerospace and technical corporations including NASA, IBM, Honeywell, Boeing, Bell Telephone, RCA, General Dynamics, Chrysler and General Electric to become involved in his 2001 project. Ordway was joined by his colleague Helmut (Harry) Lange. (Following negotiations in 1959 WvB’s group had finally been incorporated into NASA in 1960.)
Lange (also a USAF man) had then been assigned to work with Wernher von Braun as head of future projects, promoting NASA’s space programs to Washington DC for funding and to the world for media purposes. Lange would become the production designer. These two NASA men were joined by the Californian based Douglas Trumbull and his boss Con Pederson of Graphic Films, Los Angeles.
All these people were associated with the model making, special effects and production design. Batting for the movie world, we find Roger Caras who transferred himself out of Columbia and into Kubrick’s Polaris production office and the role of vice-president.5 Caras also worked out of London and New York on the Hawk production 2001. Somewhere in the middle of all of this was his friend Arthur C. Clarke. And as it happened Clarke, a longtime friend of both Ordway and Wernher von Braun, was the man responsible for setting up the meeting of Ordway and Lange with Kubrick.
Before principal photography had commenced NASA administrator George Mueller visited the Borehamwood studios on Saturday September 18, 1965 along with Deke Slayton, then a trainee astronaut. Seeing the quantity of NASA-generated data and equipment in the production offices Mueller dubbed them ‘NASA East’. While the production crew dubbed their model workshops situated at the front of the MGM Studio complex ‘Santa’s Workshop’.
It is true to say that Stanley Kubrick’s office and the whole setup maintained the secrecy of a major intelligence agency. Indeed, many British crew members thought that Ordway behaved as if he was from the CIA and certainly Ordway’s actual status was not made clear to the public, nor to author Michael Benson for that matter. And in yet another account of the making of 2001, Ordway ignores the production crew’s assertions as to his own links with the CIA, while offering that Lange might have required that some of his designs be cleared by the CIA. He also states that both he and Lange were NASA employees and that he personally had no trouble getting materials from NASA.6
A Change of Residence
That same year 1965, Kubrick found the time to move from his hotel into a new home. ‘Conveniently’ it was just 2.5 miles from the MGM Borehamwood studio complex. Interestingly, the thriller Tomorrow at Ten, filmed in 1962 at the MGM studios and on location, used Kubrick’s future home as the disused house in which the kidnapped child was sequestered together with a golliwog which had a bomb hidden inside it. On seeing a golliwog lying on floor of the Colorado lobby while Jack is throwing his tennis ball, many fans of The Shining have interpreted the scene as being connected to aspects of racism rather than anything else to which the director might be inferring by this nod to this kidnap-themed film and that particular location.7
Fig 6. Driveway and front door to Abbots Mead, Barnet Lane, Borehamwood, UK, photo DSP. The property is surrounded by Friars Mead to the west and The Chantry to the East, as their names suggest, these three very substantial turn-of-the-19th-century properties had been built on land previously occupied by monks.
However, by 1962 Abbots Mead and its very extensive grounds had become dilapidated. Purchased by property developer Eric Cowell (father of music producer Simon Cowell) he constructed another house, Abbots Lodge within the same grounds and undertook the restoration of Abbots Mead. Completed in 1965, he then sold on both houses to separate owners while removing himself to a nearby gated community on the proceeds. And so it came about that Abbots Mead became Stanley Kubrick’s family home and his creative headquarters. And Simon Cowell later became a set runner on The Shining.
Fig 7. This blue plaque marks the period from 2001: A Space Odyssey through to The Shining, photo DSP
The original Blue Plaque scheme was established by the UK government and is currently run by English Heritage. This body awards the plaque a minimum of 20 years after the death of a resident considered eminent by a majority of members of their own profession; and/or those who have made an outstanding contribution to human welfare or happiness. Other organisations have copied the scheme and in every case, the name of the awarding body is to be found somewhere on the circumference of the plaque. This particular blue plaque is more than interesting because there is no such awarding body. Coincidentally or not, within London there is another notable unmarked blue plaque – on the wall of a house associated with the US President John F. Kennedy.8
Fig 8. Plaque at No.14 Prince’s Gate London, photo Spudgun67, CC BY SA 4.0
It was from Abbots Mead that Kubrick planned, post-produced and managed every aspect of his film projects for the next fourteen years. As Kubrick said in his 1980 interview with Vicente Molina Foix:
If you’re going to make films in English, there are three places which are centers of production, Los Angeles, New York and London, and since I spend so much time in the preparations and the cutting of a film, I have to live in one of those production centers, otherwise I’d never be home, I’d always be away.
From this very brief overview of a setup that must have taken some years in the pre-planning we have a photographer who is also an outstanding film director located near to studios over which he has total control while being heavily 'assisted' by NASA and US government staff. At the very least, it could be said that 2001 had its genesis in a US government initiative to educate the public in matters extra-terrestrial while promoting its own space agency’s activities. And if that were all it was, then okay! However, as already noted, it's the body of work emanating from Kubrick that belies such a simple explanation, as a number of clues concerning the Apollo program appear to be encoded in all his other works. Other researchers have very much focused on The Shining (1980), and it was returning to this film, but looking at it with our own eyes, that led to the following discoveries.
Enter a Fellow Researcher and Friend
After reading part one of Stanley Kubrick and Apollo, a reader and friend from France who is identified here as LDS, contacted David S. Percy (DSP) at Aulis. LDS had found a number of further potential clues inferring Apollo links were present in The Shining sequences relating to Closing Day and other scenes. We discussed and investigated these together and started with the scene in the Overlook Hotel kitchen area and the food storage cold rooms C3 and C4.
Fig 9. The Shining clapperboard, October 1979 – photo DSP, Kubrick Exhibition.
Initially Dick Hallorann leans towards the door to walk-in C4 cold room which is hung so that Dick uses his left hand to grasp the handle.
Fig 10. The Shining on Closing Day – Dick Hallorann shows Wendy and Danny the door to C4, the walk-in cold room next to the chef's office.
We never see inside C4, as in the next shot Dick is on the other side of the corridor opening the door of walk-in cold room C3 with his right hand because the door is hung on the opposite side of the frame.
LDS suspected that the precise quantities of the various items in the C3 cold storage room devoted to meat could be an important encoding of some kind. He also thought that various factors were likely to be relevant regarding these numbers – factors like inversions or reversals.
Fig 11. Hallorann is now inside the C3 cold room, while Wendy and Danny are standing on the ice-cold threshold.
Analyst Juli Kearns has reached a similar conclusion regarding reversals. She had also noted this C4 to C3 cut, along with the fact that the camera is showing the view from inside the C3 cold room, where Dick the chef is now inside the cold room looking at Wendy and Danny who are only standing on the threshold. Kubrick's edit starkly informs us that C3 and C4 are linked in some way. Kearns considers that “this could be viewed as a kind of doubling or mirroring. When viewers comprehend they are in C3 rather than C4, this is realized as being one of the weirder and obvious reversals.”
Well, it’s not that obvious, since it’s taken decades to spot these clever little Kubrick touches. These numbers 4:3 will recur again, and there are several possible encodings held within them which we will explore more fully in Part Three of this investigation. Here we simply note that the ratio of TV screens at the time was 4:3 and that after a great deal of discussion, we decided to do a first decoding of the kitchen C3 cold room sequence based on Kubrick’s noted reversal patterns.
Hallorann standing inside C3 tells Wendy and Danny, “Now, here is where we keep all of our meat.” Playing with inversion LDS said that ‘meat’ becomes ‘team’ (and also sounds like ‘meet’) – and that turns C3 into a somewhat chilly conference room of sorts. Hallorann then lists the contents (see also Appendix 2) of this cold room:
You've got 15 rib roasts, 30 ten-pound bags of hamburger, 12 turkeys, about 40 chickens, 50 sirloin steaks, 2 dozen pork roasts, 20 legs of lamb. Do you like lamb, Doc?
(He is asking this question of Danny, who replies that he doesn’t like lamb. And for those not familiar with the English counting systems, a dozen is 12 items so that we have 24 pork roasts in total.)
In addition to the associative and Apollo connections listed in the Appendix, LDS conjectured that the specific numbers of each category in the C3 walk-in cold room could be encodings of geographical coordinates. He thought it might be necessary to reverse some of the digits and he was thinking in terms of Earth-based coordinates. However, considering The Shining as referencing both Apollo and 2001, and leaving the numbers as they were presented leads in a slightly different direction – to the Moon.
The first group of 15.30.12 finds a lunar longitude near the centre of the Moon’s Clavius crater. (In 2001, Clavius was the site of the moon base). The second set of 184.108.40.206 finds a lunar latitude which served as the coordinate location of a NASA probe launched to the Moon on January 7, 1968. This was the aptly named Surveyor 7 and it had landed on the outer rim the Tycho crater. (The site of the lunar monolith in 2001.)
Fig 12. Surveyor 7 model photographed here on Earth. On Google Moon this location is illustrated by a flagstaff with a US flag.
All this led us to think again of the Clavius conference room in which Heywood Floyd holds his meeting concerning the Tycho monolith. Addressing the assembled group we see Floyd give his presentation standing between a US stars and stripes flag on his right hand and on his left a purple flag with a design somewhat reminiscent of the NATO logo.
Fig 13. Clavius conference room – two flags placed at the presentation end of the room (see also Part One).
LDS had noticed this similarity, as he said early in 2019, “I suspect that SK was inferring NATO when he presented a flag very similar to that of NATO in the moon meeting room during Dr. Heywood R. Floyd's presentation in 2001: A Space Odyssey.”
However, in May 2005 researcher James Dignan had already noted that the southern arm of this star was longer than the other arms, saying that: "I believe [the flag] has a single white four pointed star in the centre, with the bottom point of the star being longer than the others…" We agree, it does indeed look that way – but in order of precedence, this film’s ‘NATO’ flag with its elongated southern arm also looks very much like structural engineer David Davidson’s diagram of the Great Pyramid. It is generally held that the sum of the four base sides of the Great Pyramid is said to represent the Earth’s circumference at the equator. First published in 1924 this diagram illustrated the reflections of sunlight cast onto the ground by the highly polished surface of the Pyramid. The longer southern arm representing the light at noon on the summer solstice.
Davidson’s diagram was reprinted in 1940, and around that time, the USAF produced an azimuthal map of the world centred near Cairo, i.e. the Great Pyramid.8.1 Then again, much later in 1982, those self-appointed defenders of the Earth, the US Air Force Space Command, incorporated the very same elongated southern-armed star into its own insignia, along with an element which would later appear in the 1966 Star Trek TV series. This adoption of film themes into space projects is a tradition with the US military which continues to this day. On December 18, 2020 it was announced that the Space Command personnel would from henceforth be known as ‘The Guardians’ – of the Galaxy, presumably. Nor does this reference to Disney’s Marvel Universe come amiss, over the years Disney Studios has designed many insignia for the Military.
Fig 14. From left to right: flag reminiscent of NATO in the 2001 Clavius moon base conference room; actual NATO flag, and Illustration (after Davidson) of the Great Pyramid’s reflections of sunlight cast at noon on the summer solstice.
Back in the real world, the USAF Space Command claims that their insignia features a globe representing the Earth as seen from space, the lines of latitude and longitude emphasizing the global nature of Air Force space operations. “The earth being both the origin and control point for all satellites, here symbolically depicted as two four-point stars. The 30-degree orbital inclination and symmetrically opposed placement of the satellites signify the worldwide coverage provided by Air Force satellites in accomplishing space-based surveillance, navigation, weather, missile warning and communications missions. The slight tapering of the orbital ellipses represents the characteristic eastward motion [of these satellites in their orbit].”
Fig 14a. Left: the Clavius conference room flag with its longer southern arm (after James Dignan) and right: the 1982 AFSC badge with its yellow satellite symbols.
It can be seen that these two yellow ‘satellites’ have been placed opposite each other on the northern hemispheres of their respective orbital elliptical paths, there is clearly a link to the Great Pyramid, not least because of that 1940s USAF mapping project but also because the Great Pyramid sits at virtually 30° north of the equator. As for that Starfleet insignia from the cult sci-fi TV series dominating this AFSC badge, we are informed that it symbolised “both the Air Force upward thrust into space and the launch vehicles needed to place all satellites in orbit." [emphasis added] While the “distinctive dark blue background shading and small globe and stars symbolize the space environment.”
The US Space Force spokesman sees it from a more historical perspective:
“The delta symbol, the central design element in the seal, was first used as early as 1942 by the U.S. Army Air Forces and was used in early Air Force space organization emblems dating back to 1961. Since then, the delta symbol has been a prominent feature in military space community emblems.”
No such evidence of this prior use of the delta symbol was provided by the spokesman. This is all rather a fudge. It’s true that the USAAF was both army and air force until it split in 1947, that the early Air Force space organisations and community both devolve from the Apollo era of the 1960s and that Space Command in its present incarnation is still part of the USAF. And those ‘Guardians’, from Disney, really? This name was simply taken from an old Air Force Space Command motto of 1983, “Guardians of the High Frontier.”
Many will recognise 1983 as being the year that the sitting President Reagan instigated the Strategic Defence Initiative, aka Star Wars. So it’s back to the world of films. Interestingly, in a big change from the Apollo images of space, the December 18 ‘Guardians’ press release features a logo set against black background replete with stars as seen from low-Earth orbit, while the orbiting satellite recalls images from 2001.
Figure 14b. The December 2020 incarnation of the Space Command Logo attempting (unsuccessfully) to refute the derisory comments its Starfleet insignia had aroused in September 2019. Star Trek is now visually linked to 2001 references while the addition of of the word culture to this poster says it all.
But what has all this got to do with Kubrick’s use of the USAF satellite symbol in his Clavius base conference room? Is it significant that:
It is fair to say that if the military have been referencing their own endeavours in space with their imagery, they have not seen that in 2001, Kubrick’s Hawk productions were also keeping a beady eye on their endeavours in space, along with the organisations associated with those same endeavours, as we shall discover. For the ancient Egyptians, Horus the elder and Horus the younger were aspects of the solar god, represented by the Hawk in the natural world. This bird has eyesight five times stronger than a human being, an eye with super-zoom capacity enabling it to see its prey from a great distance – and it can see into the ultraviolet range which is invisible to our eyes.
Taking all of the above as a bit of a clue, not least about the Apollo missions, we mentally assigned the US flag in the Clavius conference room to the lunar Surveyor 7 Tycho site. We also wondered if by way of the violet colour encoding of the ‘NATO’ flag, allied with Kubrick’s choice of production name for 2001, he was showing us matters which were otherwise hidden from the public eye. Returning to those coordinates encoded in the quantities of meats in C3 cold room, we also wondered – quite apart from the Moon’s 2001 film locations – if he was referring to the north Atlantic ocean itself, where NASA spacecraft orbiting in LEO splashdown, or whether there was indeed an actual location on land encoded in any of these numbers.
Thinking of that specific question from Chef Hallorann to Danny about his liking for lamb, led DSP to think of the system used in England for weighing wool. Known as the Avoirdupois wool pound, and defined by a wool stone weighing 14 pounds,8.2 it has always been and still is, strongly connected to the British government, which uses a symbol of the full woolsack of 364lbs, (a large square red cushion filled with wool) as the seat of the Lord Speaker in the House of Lords. That aside, and noting that there are 14 countries in the NATO block, what interested DSP was the half measure of this system. Called the Clove, this 7lbs weight was used for weighing a bundle of several fleeces known as a wool clip, and he saw the British analogy to the film clip: a short extract from a film.
Recall: “You've got 15 rib roasts, 30 ten-pound bags of hamburger, 12 turkeys, about 40 chickens, 50 sirloin steaks, 2 dozen pork roasts, 20 legs of lamb. Do you like lamb, Doc?”
Thinking of the near 30 degree latitude of the Great Pyramid and it’s missing geometrical apex, allegedly of gold, took us back to that golden, long southern armed star-satellite symbol, as we also noted that in ancient times a sheep’s fleece was used to trap nuggets of gold in fast-flowing stream beds, and this very practical application of a lamb or sheep’s fleece was also used as a metaphor to illustrate the trapping of wisdom and knowledge across fast flowing systems, just like satellites today. Furthermore the Great Pyramid’s uniquely accurate alignment to the cardinal directions led us to the four-pointed NATO star since Polaris is currently our North Pole Star.
So, bearing all that in mind, LDS came up with his next reversal as we looked again at that listing of the C3 Cold room items. He noted that 15 reversed became 51 degrees; that the slope angle of the Great Pyramid contains that number of degrees as does the latitude of London. So that city became the focus of our attention.
Then we found that by taking those three lunar longitude numbers (encoded as the 15 rib roasts, 30 bags of hamburger meat and 12 turkeys) reversing the first, adding the wool clip’s 7 to the second number 30, and retaining the last number 12 we had produced an Earth latitude of 51 degrees, 37 arc minutes, 12 arc seconds.
LDS also thought that as the ten bags of hamburger indicated a hidden Earth latitude indicator, there would be a hidden meridian indicator in the second set of lunar latitude numbers: 220.127.116.11, and indeed there is, in those two dozen pork roasts (12 x 2 = 24). Clearly it would have to go with the London latitude, so we knew it could not be a simple interpretation of these numbers.
We found here another reversal. So working backwards from the last number we assembled 02.42.05.04. Recalling Kubrick’s methods it seemed obvious that (just like the letter encoding of HAL/IBM) a shift of one decimal place was required here. This produced 0º, 24 minutes, but left the number groups 20.50.4 – too many digits to become arc seconds. As the last item in this group refers to the chickens, and as they were the only group with an approximate number, we applied the old adage, 'don't count your chickens...' literally, and they were eliminated. This now left the numbers 20 and 50 for the arc seconds. We know that Room 237 was the average of the lunar orbital distances, so here we applied averaging to these two numbers: 20 and 50 = 35, thereby resulting in an overall longitude of 0 degrees, 24 arc minutes and 35 arc seconds.
From the NATO-like flag in 2001 via the Great pyramid we had got to a set of coordinates for the UK, but the principle NATO headquarters are located in Brussels, Belgium – is there even a NATO base in the UK? Well, yes there is.
Applying these coordinates 51°37'12"N 0°24'35"W we landed on Northwood, the site of the UK NATO base, and this meridian crossed over a modern building tangent to the site of the base’s point of origin – the old Eastbury Mansion. Moreover, when we saw that this same longitude when extended north, actually crosses over another location that has equal significance to our investigation (which we will look at shortly) we knew we were on the right track.
And here it is important to emphasize that none of this was a retrofit by LDS and DSP – it came about as described, through following the script and noting the anomalies seen in the actions – the placement of items, the encodings and methods shown to us by Kubrick, the genius film director.
Fig 15. 51°37'12"N 0°24'35"W the Northwood Headquarters marked in pink, the coordinates find the large building (darker grey) near the entrance gate. This building abutted the grand old Eastbury Mansion that was retained on site when the base was constructed. Notice the road names Aquarius Way (northern sector), and Apollo Avenue (southern sector), OpenStreetMap with annotations.
Fig 16a. The Mansion called ‘Eastbury’ built for David Carnegie in 1858. The Eastbury Estate was sold to Frank Murray MH Carew in 1887. He invested in the surrounding Northwood area, profited from the estate’s revenues, but never lived in the house himself.9 Carew is quite notorious/famous and many of the local roads are named relative to his life), archive image.
Fig 16b. Eastbury Mansion in the 1920s when it became the Château de Madrid Hotel and Country Club, archive image. It was sold to the RAF in 1939 and served as their Officer’s Mess. On February 20, 1969 it was destroyed by fire and that very same year RAF Coastal Command moved its headquarters out of the base.
The Northwood base is very near to where Kubrick lived and worked, being just 18 minutes drive from Abbots Mead. While the MGM Borehamwood studio complex was just 25 minutes drive to the NATO base.
Fig 19. MGM British Borehamwood Studios in the 1960s, archive
Echoing the off-planet Clavius base, a secret location at a highly secure military establishment would provide an ideal location for holding meetings with top officials relative to any project in the planning stage and running concurrently with 2001. Northwood HQ could well have been at the heart of the planning, designing and conceptualising the Apollo imagery, including of course the TV coverage. Clearly, the Northwood base could also provide all required forms of secure communication links across the Atlantic – an absolute necessity.
The production at MGM Borehamwood known a ‘NASA East’ was of course a project very much in the US government’s interest, because NASA was desperately keen to promote the idea of human space travel – particularly in view of the expected Apollo lunar landings. But making 2001 in the UK served other aims as well. It enabled the so-called official Apollo program to acquire materials for ‘arts purposes’ that it couldn’t acquire in the US without creating political problems. Obtaining photos of the lunar surface from the Soviets, declared cold war enemies, is a case in point.11
Ostensibly needed for the 2001 film sets, these materials could equally well serve for the official Apollo training taking place in the US. And the accompanying back and forth exchanges also enabled Soviet officials in London to interface with US officials without scrutiny. In fact all of these 2001 production scenarios facilitated creation of parallel projects both seen and unseen. So it is entirely conceivable that the Northwood NATO HQ was used by all the agencies involved, especially since a military base outside London avoids any potential diplomatic issues for the centrally-located US Embassy and Consulate in London.
This unseen parallel Apollo project would have required numerous meetings with those supporting the secretive production. And undoubtedly detailed discussions would have taken place to establish what TV audiences would be allowed to see on screen, as well as how to pre-record all the visuals of the missions. From there, it is clear that roping in Kubrick by whatever means would have been a given. He was on the spot and evidently one of the best, if not the very best possible person to advise and undertake this highly detailed task.
We’re now back to the beginning and the hypothesis as to why Kubrick would ever conform to any such plan. To which we can now add some other visual clues. It is entirely possible that Kubrick already had access to this NATO base and was already under the constraints imposed upon him by the US & UK agencies at the time of making Dr.S. The RAF character played by Peter Sellers hints at the British connection to Northwood and its Officers Mess in the old house/château.
The scene in Dr. Strangelove where the Coca-Cola machine is broken into by US Colonel 'Bat' Guano while seeking change for the phone call that Sellers has to make to the US president (in order to avoid a nuclear disaster) is echoed in The Shining where there is a [war] ‘games room’ with a conspicuously placed phone box. (The TV coverage of the Apollo 11 EVA viewed in Western Australia had a brief shot of a Coca-Cola bottle rolling across the frame – an anomaly noted by a few Australians.12)
Fig 20. Games Room with US Bell phone box and US power outlets. But, notice the inclusion of a UK connection: there is a stray UK white and silver power outlet also very conspicuously set in the wall just to the right of some US power sockets, which harmonise with the trunking to the point of being virtually unnoticeable. This is a significant technical whistle-blow, since UK power sockets would not feature in any American hotel. While the fact that the US sockets are colour coordinated to the pale green colour casing which houses the wiring are further hints at the disguised and hidden powerful connections between the US and the UK.
The scene in Dr.S finds more echoes at the Northwood NATO base below ground, where there is a large Coca-Cola machine in the corridor adjacent to the nuclear bunker – whose door in the same pale green colour as both The Shining’s games room trunking and Jack’s Stovington T-shirt, which we shall also discuss later.
Fig 21. Five-segmented wheel on the door that opens the nuclear bunker at Northwood, with a Coca-Cola machine in the hallway, photo Zed Nelson. Inset, the Coca-Cola scene from Dr. Strangelove where Colonel 'Bat' Guano is instructed to "shoot the lock off it".
And tying Northwood again to The Shining and the upstairs corridor of the Overlook Hotel, we see (among the myriad clues in this location) that the old-fashioned flowery wallpaper recalls the old-fashioned Eastwood Mansion along with its very old-style light fittings. The shadow of one of these light shades is supposedly reflected onto the ceiling – but it's perfectly round five-segmented form cannot be that of the undulating design of this shade. In fact, the projected form looks exactly like the shadow of the five-segmented wheel that opens the nuclear bunker at Northwood.
Fig 22. Upper corridor in The Shining echoing the five-segmented wheel that opens the nuclear bunker at Northwood. Here the shadow on the right foreground is that of the bunker wheel superimposed to make the comparison. This is the type of corridor one might expect to see on the top or attic floor reserved for the servants in a grand old British house such as the Eastbury Mansion. (Additional significant observations regarding the ceiling shadows will be covered in Part Three.)
Let us suppose that Kubrick’s counsel was required and that secrecy was of vital importance. Even if Kubrick prided himself on not being recognizable to the man in the street – in those days he was able to roam around St. Albans unrecognized, but the military do not work the same way. For the civilian film director to be seen entering and exiting through the guarded main gate of the Northwood Headquarters would be a risk too far.
Bearing that in mind, and remembering that the RAF had constructed many below ground level bunkers and passageways and that the older areas of the underground complex dating from the 1940s have dark yellow walls, whereas the passageways built more recently in the 1980s have turquoise-coloured walls.10 We are back to the intermingling of the past and the future when we note that Kubrick used yellow stripes on the walls of the bedroom he designated as The Shining’s Room 237 and that he used the same pale green walls and fittings for the adjacent bathroom as he had used in his 2001 film design for the ‘beyond the star gate bathroom’.
Fig 23. The Shining 237 bedroom with its yellow walls…
Fig 24. …leading to the bathroom with its green walls and suite. There is yet another clue suggesting that we are here in Europe on a film set, rather than actually on the Moon or in the US, when we see in Room 237’s bathroom, what some American researchers have called a second toilet, here seen in the bottom left of frame. A bathroom bidet is predominant in Europe and some houses in the UK – but not found in US hotels.
A Visit to Northwood HQ
As LDS pointed out, “a secret entrance to the NATO base would have been much more discreet than going through the main entrance gate.” What if a house adjoining the Northwood HQ was used as cover for those involved in this parallel project to come and go unbeknownst to the curious? And further, what if such a house had a secret access into Northwood HQ that would enable an outsider to enter and exit unnoticed by any potential observers? “I suspect that this house was used as a private, regular base by Kubrick during his work at Northwood Headquarters,” LDS added. On the face of it this was a pretty crazy, if inspired, idea. Nevertheless, DSP decided to follow it up with a visit to Northwood and a stroll around the perimeters of the base.
On August 20, 2019 at 10.30 am DSP went for a walk. A thorough recce along the imposing perimeter of the base confirmed that Sandy Lane was the most likely civilian road to harbour such a property. The houses were not only set well back from the road they were architecturally older than the other builds around the base. Walking along Sandy Lane, while half expecting to be challenged at any minute for loitering, or even just being there, he found a group of houses adjacent to the base – and one of these, Milverton Lodge, was extremely well guarded with CCTV cameras and security systems on the front gates.
Fig 25. Front entrance to Milverton Lodge, photo DSP
DSP had prepared a letter of introduction in order to arrange for a visit and he was intending to post through the mailbox of the house he thought might fit LDS’ hypothesis. But seeing that there was also a communication post at the main gate, deciding to try his luck he pushed the button – and it was answered.
DSP explained that he wished to make an appointment to discuss the history of the house. After some deliberation he was invited in. The main gate was remotely opened and he was met by a smartly presented security detail who called himself ‘Robert’ (name changed for security reasons). LDS’s hunch had been correct, Robert was from HQ MARCOM Northwood – and the house, now occupied by Naval Admirals, (nationality unspecified) was the property of the UK Ministry of Defence.
Figs 26 & 27. The Milverton Lodge gate opens, and approaching the house, photos DSP
Robert explained that originally Milverton Lodge and the adjoining house (called Mapesbury) were linked, having been built and owned by two sisters. Hearing that, DSP’s thoughts immediately went to the images in The Shining of the two girls in their blue party frocks, asking Danny to “Come and play with US for ever and ever”.
Asking Robert for permission to take photos of the exterior, DSP was somewhat astonished when despite all the security systems, permission was granted. He was allowed to walk around the property, explore the formal gardens behind the house and take photographs.
Fig 28. Rear view, Milverton Lodge. The lower brown tiled roof left of frame shows the connecting building to Mapesbury. Although whether the two buildings still have shared access is unknown, photo DSP
Fig 29. Further rear view of Milverton Lodge showing the extensive formal garden, photo DSP
Accompanied by Robert, DSP managed to wander a bit further and chatting all the while, they meandered through the formal garden into the rear grounds and there, at the south side of the property nearest to the base, and just as LDS had surmised, there was a pathway running down the garden through the wooded area to the rear boundary fence.
Fig 30. Milverton Lodge wooded pathway leading to far end of the garden, photo DSP
And at the end of the pathway in the south-western corner of the garden DSP was shown a nondescript garden gate that to his absolute amazement and again just as LDS suspected, does indeed provide discreet, highly secure access to the Northwood HQ, NATO Allied Maritime Command.
Fig 31. Hidden gate from the garden leading to the military base beyond. Rising up behind this wooden gate there is a fully alarmed 12ft-high vibration-sensitive fence topped with razor wire and bristling with cameras, photo DSP
Set in the ground just before this wooden gate there was a raised flat cover which was not commented upon by Robert. Although it looked an awful lot like a trapdoor, as a visiting architectural historian DSP decided not to push his luck. Especially as Robert had stopped him just where this photo was taken and said, “Don’t go anywhere near that gate as it will trigger alarms and lights, and security guards will be here in an instant!”
Of course in the 1960s security was probably rather different than today, but this gateway is most certainly a private access to the base. This really does look as though between LDS and DSP they had found a strong candidate for a meeting place enabling a civilian film director and the like to meet in some privacy with high-ranking officials for working out essential details of the parallel Apollo project.
Fig 32. Drawing showing the proximity of the Northwood HQ, the location of Milverton Lodge and the position of the hidden, secure gateway into the base. The map also confirms that Milverton and Mapesbury are still attached.
So do we here have supporting evidence of the possibility that following on from Dr. Strangelove and running concurrently with 2001 there was another project – also involving space travel and NASA in which Kubrick might have been involved? – and if so, who was behind the ASP and the planning meetings?
In The Shining Gold Room Jack asks Lloyd, the barman, who is buying his Bourbon… the ‘white man’s burden’… and the response from Lloyd has Jack making two further remarks: …“No Charge?” says Jack... “Orders from the house? …I’m the kind of man that likes to know who’s buying their drinks, Lloyd.” An exchange that might suggest that Kubrick, as the out of season caretaker, never knew the senior individuals who actually recruited him and who oversaw the Apollo simulation project.
The Story of MGM Studios
During WWII Amalgamated Studios in Borehamwood were requisitioned by the British Government. Covering approximately 120 acres, it was one of the largest facilities in Europe. Then in 1948 Metro-Goldwyn-Mayer acquired the studio and purchased the adjacent farm enabling the studio back lot to be extended. An exploration of the politico/economic use the American company made this studio and local houses, including some of those in Barnet Lane, is beyond the remit of this investigation but it is notable that one of the very last films shot at MGM Borehamwood was 2001: A Space Odyssey. Owing to Kubrick’s production eventually occupying all of it for almost two years, his film has been cited as one of the primary causes behind the closure of the studio in 1970.
Fig 33. MGM British Borehamwood Studios, and a late 1950s view from the air. The studios covered 114 acres, the largest studio complex at the time in the UK, archive
However, it must have been the case that a totally different secret studio facility was used to film and photograph the manufactured Apollo lunar surface images and the TV coverage – at least up until and including the Apollo 13 mission.
As we discussed previously, it is our view that all the necessary whistle-blowing was encoded by Kubrick in his relevant films, and the probable location of this secret place has been decoded by us from clues in The Shining. So now we now turn our attention to other key scenes in the movie – especially those included in the mysterious and magnificent Gold Room.
The Gold Room has the most unusual ceiling, especially when it comes to the long runs of light sources and different levels. For some time DSP has been intrigued by the shape of the room. It reminded him of an interior of the huge, long hangars that were constructed for building dirigibles during the WWII. An airship or dirigible is a type of aerostat or lighter-than-air craft. It so happened that DSP had previously researched this subject for a documentary film on London he made in 2012 called The Belsize Story as one of these blimps was located very near to where he lived during the war.
This thought takes us to the history of the two Cardington hangars in Bedfordshire, UK. One was built on Cardington Airfield in the 1920s. And hangar No.2 was imported from RNAS Pulham, Norfolk in 1928 and re-erected at Cardington alongside its partner. The two hangars were extremely large structures that were built specifically for the production of dirigibles, the famous R100 and R101, and wartime balloons.
Fig 34. Balloon Training Unit, Cardington hangar interior, October 1940 – archive. These wartime blimps helped to save many parts of the capital by preventing German aircraft from bombing areas where the anchored blimps were positioned. At its peak, Cardington was producing some 26 balloons a week.
For both airships and barrage balloons, Cardington manufactured its own hydrogen. This was produced in the Gas Factory using the steam reforming method. In steam reforming, pure water vapour is used as the oxidant in an endothermic process. Endothermic reactions require external energy, usually in the form of heat for the reaction to proceed. Since endothermic reactions draw in heat from their surroundings, they tend to cause their environments to cool down. The Gas Factory functioned until 1955, when it became the 217 Maintenance Unit.
Fig 35. The Shining Cold (Gold) Room display board. LDS spotted that the design of the initial of the room name is more akin to a ‘C' than a ‘G’.
From 1943 until 1967 Cardington was also home to the RAF Meteorological Research balloons-training unit undertaking development and storage. The balloon unit remained active and men were trained at RAF Cardington to be sent overseas with the balloons, while experiments continued within at least one of the hangars until October 31, 1966 when the unit was transferred to Hullavington, Wiltshire.
Stovington and the Eagle
In January 2020 LDS said he suspected that another relevant clue is contained in the bedroom scene in The Shining where Wendy brings Jack his breakfast in bed. In that scene we see the eagle on Jack’s Stovington T-shirt in two variatIons, through the looking glass and directly.
LDS thought that the colour of Jack’s T-shirt was similar to that of the nuclear bunker door and the Cardington hangars, and the T-shirt could also be a reference to the 217 Maintenance Unit of the RAF Cardington camp. And as real life Cardington was a training centre and in The Shining narrative Stovington was the location of the Vermont private school where Jack had been teaching prior to relocating to Boulder and getting the job at the Overlook, the comparison was apposite. As was the fact that the eagle is among other things, the national bird of the United States.
Fig 36. Here we see Jack’s T-shirt as reflected in the bedroom mirror. It has the reversed word Stovington plus the image of an eagle, which in this mirror reversal is a reminder of the US Eagle on the Apollo 11 crew patch.
Fig 37. Jack’s Stovington T-shirt – as worn by Jack now recalls the British RAF insignia seen at Cardington.
Fig 38. In 1955, the Gas Factory became the 217 Maintenance Unit. Left: Name board at RAF Camp at Cardington – the RAF insignia is above the sign. Right: Close up of the RAF Eagle and Crown. The Royal Air Force motto means ‘Through Adversity to the Stars'.
DSP noted a coincidence too far – that 217 was the number of the hotel bedroom in Stephen King's novel The Shining which Kubrick changed to 237. A number that just happened to reflect the approximate 237,227 average distance in miles of the Moon from Earth in 1969.12.1 But this number 237 might also have a far deeper meaning for Kubrick that we will discuss in a later study on this subject. DSP further noted that Jack’s T-shirt also echoes the colours of the bathrooms in both The Shining and in 2001 and the colour of the trunking in the [war] games room.
Fig 39. The enormous Cardington hangars in 2020 as seen from the main gate, photo DSP. Hangar No.1 left of frame is the original hangar, while No.2 on the right is the import from Norfolk. A typical two-storey house has been added on the right for scale. These two hangars, ostensibly very similar in form, are slightly different thanks to the very particular window arrangements of Hangar No.2 (just as the sisters in The Shining were also slightly different),
Taking the Cold/Gold Room to encode activities at Cardington, after all it is obvious that even from the outside the Cardington hangars recall the form of the Gold Room, and LDS refers to this similarity as the ‘Cardington hypothesis’,
DSP, here is another clue for your Cardington hypothesis,” he said. “It’s in the dialogue with Lloyd, the bartender in the Gold Room bar. As you certainly know, the phrase ‘from here to Timbuktu’ is commonly used to describe some remote, hard-to-reach place, a destination that one is exceedingly unlikely to actually manage to reach.
Fig 40. The Gold Room visit on Closing Day. Stuart Ullman is leading Wendy and Jack into the Gold Room followed by Bill Watson. Note: The red chairs and sofa echo the colours of those in Space Station V in 2001. While the green colour of the round tables recalls the square card tables in the games room.
LDS suggested that as we have seen Kubrick use an inversion word game to encode information on many previous occasions, when Jack says at the bar, “I like you, Lloyd. I always liked you. You were always the best of them. Best goddamned bartender from Timbuktu to Portland, Maine, or Portland, Oregon, for that matter.”
Here we have further double inversion of the words Timbuktu and Portland. Timbuktu = far way. The opposite of far away is near or here. And inversion of the word Port-Land is Land-Port. Kubrick is using that same simple method of word/syllables/image inversion to say – HERE is a LAND PORT – another NASA West-East moment. Cardington was not only a dirigible factory, it also had a land port for dirigibles. And the fact that Jack has this observation in the Gold Room/Cardington hangar firmly reinforces this hypothesis.
Fig 41. R100 on its mooring mast at the Cardington land port, archive image. The PORT LAND reversal, LAND PORT for the UK dirigibles built in the adjoining hangars. This tower was built in 1926 and demolished in 1943 to help with the war effort.
At some point in their post war career (sources vary on the exact dates) by altering the Camp’s boundary fence, the Cardington hangars were separated from the RAF Cardington Camp. The official history has it on record that that the hangars were made available ‘for other uses’ in the 1970s. This timeline is not entirely accurate, given that the RAF was using at least one hangar until 1966, and major studios are on the record for using Cardington in the 1960s. In 1964 scenes for Those Magnificent Men in their Flying Machines were shot at Cardington. And later in 1968 the movie Chitty Chitty Bang Bang rented the facility – however, from all of the information acquired it becomes fairly obvious that it was hangar No.2, the Norfolk import, that was in use for filming purposes.
Hangar No.2 is such a vast space that it is possible to make four massive soundstages out of its interior along with all the necessary support facilities (Appendix 3). But back in the 1960s it was all one vast empty space, so let’s now look closer at the interior of this hangar in more detail and the parallels with The Shining’s Gold Room, a title becoming more and more apt as we look at the lighting of this room.
Fig 42. Upper image: Cardington hangar interior in 1927, its highest point in the centre. This former Airship hangar is one of the largest indoor spaces in Europe – 180ft high with no obstructing beams. Lower frame: scene from the Gold Room on Closing Day.
The Gold Room was a fabulous set – and the positioning and nature of the Gold Room light sources was particularly special. John Alcott, BSC the Director of Photography, said in an article that originally appeared in American Cinematographer on August 1980 regarding the ceiling lights, “There were three troughs on either side of the ballroom and in each trough there were 150 100-watt domestic light bulbs.”
The Gold Room’s very distinctive bar was a feature of the room that was lit very differently. The bar countertop had under lighting in a narrow strip, broken with a distinctive gap.
Fig 43. The distinctive bar in The Shining Gold Room.
In 1968 John Alcott recalled, "The bar was translucent glass and the back of the bar was lit by 100-watt bulbs which were banked in boxes of 25 to each panel… The bar's integral lighting adds an ethereal feel to the scene. Had there been no bar there at all it would have been flat and uninteresting. It needed that contrast in the foreground to give it the depth that it had."
Fig 44. The Gold Room bar under lit in a narrow strip with a distinctive gap.
Other researchers have observed that narrow light flashes also appear in the 2001 Jupiter and Beyond Star Gate sequence. They appear in both the lower and upper parts of the frame.
Fig 45. Images from the Star Gate sequence in 2001.
But until now no one had noticed that there is a distinct similarity between the narrow bar counter lighting in the Gold Room in The Shining, that streak-like effect seen in 2001, and a similar narrow streak (rather like an ‘i’) also present in the black sky area of certain Apollo 11 and Apollo 12 images.
Take a close look at this Apollo photo.
Fig 46. AS12-48 7084 (with increased contrast) featuring a streak-like bright narrow ‘i' light effect at the top of the ‘sky’ area.
Fig 47. Sunlight casts light streaks due to the long, narrow windows in the Cardington hangar.
In January 2020 LDS said, “The same explanation stands for the Apollo image AS12-48-7099. A linear light trail at the top of the photograph can be explained by light from the outside passing through a horizontal row of windows of the Cardington hangar.”
Another Apollo photograph, AS12-48-7099, illustrates this anomaly.
Fig 48. Upper: Cardington hangar No.2. Lower: AS12-48-7099 (with increased contrast) Surveyor 3 and the LM. The narrow light streak effect – similar to the one in figure 46 – likely created by some of the Cardington windows correspond with those visible on the Apollo images.
Sunlight passing through the blackout curtain fabric rigged in the upper part of the hangar – intended to reproduce the black lunar ‘sky’ area – would create the light streaks seen in the ‘sky’ area of the Apollo imagery. And on occasions the sunlight shining through the darkened windows would be bright enough to actually register on the film emulsion.
However, this effect would only have been known to certain members of the photographic team. As it is most unlikely to be co-incidental in any way, it may have been the case that after showing up on film taken during test shoots, these streaks were left untouched as another intentional whistle-blow – even if this anomaly is only too obvious when the black ‘sky’ area is lightened.
Therefore an important thought comes to mind. If the ‘i’ light streak effect was known to Kubrick and was incorporated into 2001, potentially the light from the windows of the hangar must have been showing up on film in dark areas before the Star Gate sequence was designed. It is therefore conceivable that arrangements for shooting at Cardington along with test shots at this location were actually undertaken very early on.
Another hint that 'i' light is the message here comes from the end credits of 2001 where, to the astonishment of Doug Trumbull, Kubrick took credit for this Star Gate sequence. But then, the story goes that Kubrick had first experimented with film effects way back in 1964 in pre-production mode in New York.
Repeating the narrow flash streak effect in the Gold Room of The Shining was obviously incorporated to recall the similar effect in 2001 in addition to any Apollo image generation. As we have noted previously: redundancy of the encoded message.
The Story Room and Revelatory Encodings
Dick Hallorann refers to the storeroom by pronouncing it as the ‘story room’, and given Kubrick’s meticulous attention to detail and the numerous takes he shot, this was no accident. This alleged slip of the tongue implies there is a narrative, or information, available within this location.
Fig 49. Danny in the ‘Story Room’. Other researchers, including Jay Weidner and Owen Harris, have found various encoded items in the storeroom, for example noting that the inscriptions ‘Golden Rey’ on the boxes could refer to Apollo, the Sun God (‘Rey' is ‘King’ in Spanish).
LDS noticed that numbers on certain boxes in the storeroom are marked with significant digits. In addition, the word ‘willapoint’ although sounding like ‘will appoint’, or ‘will point’ caught his eye, drawing attention to the numbers 00170 and 11260. These numbers correspond (by inversion) to Apollo 11 and 12 photographs described in this paper, namely AS12-48-7100, and AS11-42-6211. These numbers then prompted LDS to examine these Apollo images – one of which we will look at now, and the other one later. First up AS12-48-7100.
Fig 50. AS12-48-7100 – something on the photograph is a match with a scene from The Shining.
This image, when flipped or mirrored recalls lighting in another scene in The Shining, one that many will never forget. The bloodied sisters are lying on the floor with three distinctive light reflections. These light reflections, which are not quite in line, comprise an upper slightly larger, brighter one above two smaller reflections. All these bright light reflections are visible through the window curtain.
LDS decided to map the positions of these three reflections and compare them with three vertically-stacked dust or dirt spots that are visible in AS12-48-7100. This photo has what appear to be naturally-occurring white specks of dust or dirt on the negative and the black & white print. As we will show, that particular arrangement of light spots in the black 'sky' area matches the lights reflected in the window through a curtain in the sisters and axe scene in The Shining. These marks happen to align perfectly. Coincidence? Accidental? – Or even intended? Let’s see.
Had these the three dust marks on the negative of AS12-48 7100 been noticed and then adopted as a whistle-blow? When the image is flipped horizontally, left-right, it seems to have been used as a reference for the positioning of the three reflected lights visible through the white curtain covering the window behind the girls in The Shining.
Fig 51. AS12-48-7100 flipped, left-right. The three light spots vertically above the LM are ringed in yellow.
Fig 52. The dust spots on the Apollo negative correspond with the three lights reflected on the window – even when viewed through the white window curtain. (It’s even possible one sister is intended to represent the LM and the other Surveyor 3 in the foreground.)
Additionally, as originally pointed out by Juli Kearns, there are some white dirt spots on the floor by the axe. When DSP was studying these conspicuous particles of ‘dust’ on the carpet a group of three in particular looked rather familiar. In fact they are they are virtually in the same configuration as the light reflections in the window behind the sisters.
In the opinion of DSP and LDS, the dust/dirt marks on AS12-48 7100 were undoubtedly used as a guide to place the light reflections in The Shining scene – hoping no doubt that one day, someone would notice and make a connection. Well, they have noticed.
Fig 53. Three prominent white dust/dirt spots in the foreground by the axe, red rectangle.
Looking again at the sisters in the above image, you can see the ‘dust’ spots in the foreground. Compare these dust spots with the light reflections on the window. Then check out the dust spots from The Shining and those on AS12-48 7100, and then on the window alignments of Cardington hangar as below in figure 58. These are amazing correspondences.
Fig 54. The NASA PR for Apollo 12 was all about the pinpoint landing of the Apollo 12 LM Intrepid next to Surveyor 3. Are these dust spots or pinpoints of light? Yellow rectangle: dust spots on AS12-48 7100. Red rectangle: dust spots by the axe of the bloodied sisters rotated 90 degrees (see Part One for the significance of this 90º rotation).
Various colleagues of Kubrick have related that the director paid extreme attention to the precise arrangement of these three reflected lamps. It is without doubt in our minds, that Kubrick is here emphasizing the importance of the alignments of the three spots represented in three locations – one of which is an Apollo 12 photograph. Triple-lock redundancy. And this takes us to that upstairs corridor where the sisters are seen.
Fig 55. In this earlier shot of this corridor only two lamps are reflected in the window. This is in fact correct, as there are only two lamp fittings in that corridor.
Fig 55a. However, prior to the shots of the slain girls (frames 1 & 2) when Danny turns the corner riding his big wheel the window reflections vary considerably from shot to shot. (Frames 3 & 4 follow the shots of the slain girls.)
The third, lower lamp reflected in the girl’s corridor window that can be seen in Figure 55a, frame 1, is actually situated on the ceiling of another corridor around the corner. So in reality it could neither be visible, nor reflected in the window of the girl’s corridor. However Kubrick chose to reflect up to three lights in this window, and associate them with the ghosts of the caretaker’s two slain daughters, so at the very least he is encoding 90º rotation. Then again, as the shadow on the ceiling reminds us of the wheel governing the nuclear bunker at the NATO Northwood base we saw in figure 22, could these lookalike sisters also represent the fact that not only Apollo, but even the Gemini missions were in trouble due to the dangerous levels of radiation present in space?
Fig 56. The position of this third lamp suggests to the casual observer that it is in line with the girl’s corridor. In reality the lamp is just around the corner, slightly offset from the 90º turn, just as the third light reflected in the window is also slightly offset from the other two. The arrows are pointing towards the window at the end of the girl’s corridor.
The L-shape turn of these two corridors can also be described as the two lamps in the girls’ corridor being orthogonal to the lamp in the corridor seen in figure 56 – and that brings us to examine a relevant aspect of the sunlight in relation to Cardington hangar No.2 in the late 1960s. Astonishingly, those three light reflections and the dust marks also correspond with the window alignments of Cardington Hangar No.2.
Fig 57. Left, drawing of the window alignments in the Cardington hangar, alongside a scaled photograph, right.
Compare a) the Cardington windows with b) the light reflections/dust spots by the axe, and c) the dust spots on Apollo AS12-48 7100.
Fig 58. Cross section of the Cardington hangar with sunlight entering at 25º. ‘A’ is the scaled rectangle of the dust marks on Apollo AS12-48 7100. ‘B’ is the crop of the dust marks on the carpet area front of the axe by the bloodied sisters in The Shining which matches the three light reflections in the window behind the sisters.
The dust marks of AS12-48-7100 match the corresponding dust marks on the floor by the axe and the three light reflections in The Shining, as well as the ratios between the window of the Cardington hangar No.2 – all match and align together. This alignment in the hangar can occur when the sun’s rays are orthonormal to the hangar wall. These correspondences are likely NOT a coincidence – all triggered by a cornflakes box number in the 'story room'.
In January 2020 LDS concluded that the hypothesis of sunlight passing through the black backing curtain is highly plausible. Some solar radiation, invisible to the human eye, was likely able to transmit through the fibre barrier of the black fabric and register on the film emulsion. The light spots and trails therefore only appeared to an observer after development of the negatives.
Fig 59. Sun direction orthonormal to the hangar windows and a sun azimuth angle of approximately 135º (orthonormal means both orthogonal and normalised). Googlemapping plc with annotations.
Fig 60. Sun angle of approximately 25º corresponds to the inclination of the hangar side wall in relation to the vertical.
Assuming that the intense radiant sunlight when photographing AS12-48-7100 (figures 50-54) corresponds to a sun direction orthonormal to the plane surface of Cardington hangar No.2 windows, LDS calculated that it is possible to deduce the azimuthal angle and the altitude angle of the sun, and therefore the most probable hour in the day, plus the most probable date (day, month) of the year for when this photograph was taken. This free software was used to calculate these details.
The sun direction is orthonormal to the windows for a solar azimuth angle of approximately 135º and a solar altitude angle of approximately 25º (corresponding to the inclination of the hangar side wall in reference to a vertical plane).
By computing these two data in Sunpath chart software one can ascertain an approximate date and time of October 2, 1969 at 09:10 am. It so happens that October 1969 was the warmest October month in all of the UK until October 2001. In other words, the sun had exceptional radiative activity during October 1969. This could explain the repeated emphasis on the three points of brightness.
Fig 61. Screen image captured by LDS. Note: the date of 2020 displayed by the software is normal. The software only gives the result for the current year because the daily exposure of the Earth to the Sun is virtually the same over the last decades.
AS12-48-7100 (Surveyor 3 and the LM) was likely created in the Cardington hangar on October 2, 1969, not long before the expected Apollo 12 mission return on November 24, 1969. This realization by LDS offered further important understandings. It implies that the images in question were only generated shortly before making up the film roll for Apollo 12 magazine 48.
Furthermore, as there was no TV coverage available of the lunar surface exploration during Apollo 12, due to the induced ‘failure’ of the TV camera at the beginning of the EVA (see What Happened on the Moon?). Virtually the entire Apollo 12 lunar surface visual record only comprises still photographs. And that state of affairs could facilitate another set of circumstances. LDS stated that along with the other similar images,
There are some clues that indicate that AS12-48-7100 is likely featuring a reduced scale model of the Apollo 12 LM and Surveyor 3. These scenes could have been photographed with a wide-angle lens to give the impression of a greater depth (i.e. more distance between them). Indeed, hangar No.2 is not wide enough (83.8 m) to be able to simulate, at full scale, the stated distance between Apollo 12 LM and Surveyor 3 – namely 155m, according to NASA data.
Fig 62. NASA diagram of the Apollo 12 and Surveyor 3 locations, reproduced from Paving the Way for Apollo 11, David M. Harland, 2009, Praxis Publishing.
Fig 63. AS12-48 7133 – it is likely that the images under discussion were generated using scale models in the Cardington hangar.
An imaging team operating at Cardington would therefore have needed to use scale models (and also an astronaut mannequin as seen in other Apollo 12 photographs from AS12-48 7132 to AS12-48 7136). In these five images the scale mannequin is supported by gripping the telescopic arm of surveyor 3.
Fig 64. Close up of AS12-48 7133.
The scale model hypothesis also explains why in figure 58, the lower light point, corresponding to the lowest window, located 8m (26.25ft) up the hangar wall, appears in the photograph to be located much higher above the scale model of the Apollo 12 LM.
Without access to any direct evidence LDS was unable to determine the exact scaling, but he did make the calculated assumption that instead of NASA's stated height of twelve metres, the scale model of the LM could have been positioned at an approximate altitude of three metres above the Surveyor 3 location, thus indicating a reduced scale of 1/4 (3 m/12 m). That would make the scaled distance from Surveyor to LM approximately 155/4 = 38.75 m long – although he has no firm evidence of this, interestingly this scaling brings us back to those numbers 3 and 4 mentioned at the beginning of this Part Two, and about which LDS had not been informed when he did this study.
LDS had also concluded that the imaging team was more than likely to have used wide-angle lenses for this scale model work. Use of such lenses also had the effect of bringing the three light points closer one to each other, thereby producing a more impressive distance. Although by this point LDS was convinced that there was enough data to prove the validity of our Cardington hypothesis, there are even further indications that Apollo Imagery was generated in Cardington.
Now we come to AS11-42 6211, the other image decoded from the number highlighted in the ‘story room’. Consider the white rectangle at the top of this Apollo 11 photo of an area of the Moon. This white frame delineates a dark inner shape which, as we will see, happens to match exactly a typical window of Cardington hangar No.2.
Fig 65. AS11-42 6211 is an image attributed to Apollo 11 CSM Columbia while on a near circular lunar equatorial orbit.
The outline of the dark shape matches a typical window of Cardington hangar No.2 (figure 66). Increasing the contrast of the black ‘sky’ area reveals more detail. LDS observed that “the inclination of the light rectangle on AS11-42 6211, relative to the vertical approximates the inclination of the hangar window frame.” Indeed it does.
Fig 66. Part of AS11-42 6211, with inset of a typical Cardington hangar No.2 window. With increased contrast in the black ‘sky’ area it is possible to see there are distinct indents in the rectangular white shape that match the corrugations on the hangar windows.
There are 7 notches at the top and bottom of the white rectangle in the ‘sky’ area in AS11-42-6211 clearly visible in the above picture. Compare these with the corresponding corrugations of typical Cardington windows in the picture below.
Fig 67. Cardington hangar No.2 corrugations on the windows viewed from the outside that are very similar to the anomalous rectangular shape visible in figure 66. It was not possible to gain access to the interior or obtain a close up of the right side windows so this is a view of those on the left side of the hangar.
Each window on the Cardington hangar has these corrugations. It would indeed appear to be the case that we see one of these windows in the Apollo 11 image of the Moon. That suggests we must be looking at a highly-detailed model of the Moon photographed in a studio setup. Where have we heard of that before? Jack WhIte, BA and many others have suggested this is the case over the years. We are back to models and miniatures again.
There are further reminders of the Cardington hangar to be found in The Shining. Remembering the wallpaper of the bedroom of Room 237, it is striped in a way that recalls the corrugations of the windows of the Cardington hangar windows and the lower vertical walls.
Fig 68. Room 237: the striped wallpaper of the Moon Room bedroom is reminiscent of the lower vertical Cardington hangar walls. Note the spacing of the metal bands on the cabinet to the left, the vertical ribs of the radiator on the right and the colour green just seen through the bathroom door.
Fig 69. Cardington hangar No.2, eastern side. The vertical exterior wall can be seen to be a relatively small portion of the hangar side.
Fig 70. The radiator in room 237 is also reminiscent of hangar No.2’s unusual window design. Each window consists of ribs of transparent material. This description recalls those ribbed roasts in the C3 cold room, photo DSP
Fig 71. Cardington hangar No.2, western side, photo DSP. The horizontal metal bands on the small cabinet in room 237 are reminiscent of the spacing of the windows of the hangar – inverted. Room 237’s green adjoining bathroom recalls the exterior colour of the hangars and Jack’s Stovington/US/RAF T-shirt.
All of these examples advance the hypothesis that the Apollo shots in question were actually taken in Cardington. Moreover, being adjacent to an RAF airfield, Cardington was easily accessible by aircraft or helicopter for visiting top-ranking officials from overseas, or indeed important people in a hurry from just down the road, the hangar being less than an hour’s drive from the Borehamwood Studios.
Then, having got this far, we came across an important person who was already on site.
Cardington Witness Testimony
A significant corroborating piece of the puzzle falls into place. It is the testimony of a technician who was employed at Cardington in the mid to late 1960s who claims he actually saw an Apollo 11 Moon set in one of the hangars. This unnamed employee is on record for having stated,
I met Neil Armstrong once! He and Buzz Aldrin were practicing for the Moon landings at Cardington.
I worked there at the time as a technician: the hangars were used for fire testing, constructing blimps and so on. They built a fantastically accurate film full-scale model of the Moon’s surface – it had little craters, boulders, a Lunar Module: everything. Armstrong and Aldrin used it to practice putting up equipment, climbing in and out of the module and so on. It was very realistic and totally hush-hush of course.13
Hush-hush’ is an old-fashioned term for highly secret. But – if this was all set up for just practicing getting in and out of the LM, why, oh why, was it necessary to do it in the UK? Because it wasn’t just practicing. LDS also said in January 2020,
I found an interesting clue that could reinforce your Cardington hypothesis. During the Apollo 16 mission of 1972, John Young, the astronaut assigned to drive the Lunar Roving Vehicle dubbed it 'Chitty Chitty Boeing Boeing', a nod to the movie Chitty Chitty Bang Bang released four years earlier in 1968.
As already noted some scenes from Chitty Chitty Bang Bang were filmed at Cardington. DSP added: the Boeing company was the main contractor for the design of the lunar rover, the LRV. And if John Young was blowing a whistle about the magical properties of the LRV and a timeline associated with the dark arts relative to the Apollo EVAs he did it very well. The movie was based on the book Chitty Chitty Bang Bang: The Magical Car by Ian Fleming. Written in 1961 it was only published in 1964 after Fleming’s death. Just after publication it was optioned by Cubby Broccoli (producer of the James Bond movies, Fleming’s master spy). The timeline of the movie covered the same production period as 2001. DSP had also noted that if the release date for the finished production was December 18, 1968, (three days before the scheduled launch of Apollo 8) principle photography for CCBB had commenced on July 17, 1967 and therefore location scouting would have occurred even before that.
Furthermore, this component of the Apollo record could easily have been filmed in the Cardington hangar, as it has been convincingly demonstrated that the 16mm DAC camera footage of a rover apparently driving around on the Moon was actually filmed using a scale model. And again, as we have already noted, the Twentieth Century-Fox Production of Those Magnificent Men in their Flying Machines (photographed in 65mm Todd-AO and initially shown in deluxe Cinerama venues) was also filmed at Cardington sometime during 1964 – even referenced Dr. Strangelove in its script! These two movie's flying titles make good insider’s jokes, and it could well be that the use of Cardington by ‘big Hollywood’ was a useful ‘screen’ for the more discreet Apollo simulation projects.
What is clear is that the official Cardington narrative which has the hangars rented out for other purposes from 1970 is totally inaccurate, and that begs the question as to why that would be. This brings us back to the witness who claimed to have seen NASA astronauts in one of the Cardington hangars in 1968. This event is mentioned in author David Bryant’s book Our Forbidden Moon: Is Spaceflight denied to Mankind?13 and it was so intriguing that DSP followed it up by getting in touch with the author.
David Bryant, who lives in Norfolk, England is a former naval pilot, a collector of space memorabilia and as such is acquainted with many of the NASA astronauts. His interest in UFOs and the wider aspects of space travel stem from his own experiences, his knowledge of astronomy and his business in trading meteorites. Bryant has forty years of experience teaching and lecturing and it was during one such talk given to the Bedford Astronomical Society (BAS) that the ‘Cardington Comment’ arrived on his doorstep, so to speak.
The BAS hold their meetings within the grounds of Bedford public school and at that time the school’s chemistry teacher was in charge of booking visiting lecturers such as David Bryant. On Wednesday September 27, 2006 Bryant’s lecture had reached the interval when a lab technician working at the school came up and spoke to him about Apollo.
At the time Bryant, in mid lecture, didn’t pay quite as much attention to these comments as he otherwise might have done. Nor did he think of asking for the lab technician’s name – but he had made some notes of his visit and as it turns out the quote Bryant had published in his book was only the half of it. Here’s the fuller account of key part of the conversation that apparently went on at some length:
I once met Neil Armstrong, Buzz Aldrin and Michael Collins. They had built a fantastically accurate film full-scale model of the Moon’s surface – it had little craters, boulders, two Lunar Modules, everything. One Lunar Module was hanging from the roof (and beautifully lit) – the other one was on the ‘lunar surface’.
Armstrong and Aldrin used it to practice putting up equipment, climbing in and out of the module and so on. It was very realistic – and totally hush-hush of course! [emphasis added]
Fig 72. Jack White’s study from around 2005 of the Apollo 11 LM likely suspended high in a studio – crude retouching of the black ‘sky’ is revealed following enhancement.
The technician went on to tell Bryant that he had guessed Cardington was used because it was a large, secret place. He also told Bryant that he had ‘plenty of photos’ and described these in some detail. He then offered to swap some of his photos for one of Bryant’s lunar meteorites and it was agreed that just such a swap would take place when Bryant next gave a lecture to the Bedford group. Peter Hudson, the current Chairman of the Bedford Astronomical Society, has confirmed to David Bryant the veracity of the lab technician’s statement.
When Bryant later returned to the Bedford school armed with a meteorite for the lab technician, he failed to spot him in the audience and so at the interval queried his whereabouts with the chemistry teacher. He was told that the technician no longer worked in the laboratory. Overhearing the conversation, another attendee volunteered that he rather thought he had been involved ‘in a car crash or something’. Which is of course, pure hearsay.
It is fair to say that the statements made by the Bedford school lab technician do pose some awkward questions. Originally from 1916 during WWI, the term ‘Hush-Hush’ was used by the UK authorities and the military to refer to official but highly secret or confidential projects carried out behind the scenes. And from a hush-hush point of view there are a few things wrong with the Cardington employee’s statement. It raises the question as to how such a secret operation was allowing a mere technician to not only take photos but also meet the astronauts. It also poses another question: what was Command Module Pilot Michael Collins doing at Cardington? He wasn’t involved in the lunar surface EVAs.
Fig 73. Command Module Pilot Michael Collins.
If Michael Collins was not along simply for the ride, then the answer to the ‘Collins Conundrum’ must have something to do with that suspended LM. And that view of the Moon with the Cardington hangar window in the frame (figure 65). For the purposes of post Apollo 11 Q&As with the media, or indeed anyone else not in the know, did Michael Collins need to see how the LM would look and behave when suspended against the black of ‘space’? If so, why do this at Cardington? Or is there another clue here to the links between NORAD, Cardington, and the Apollo scenario?
As a military man ostensibly ranked above LM CDR Armstrong (who was classed as a civilian for the purposes of NASA) was Collins overseeing the Apollo 11 shoot? And as a nice in-joke, did the naming of Apollo 11 command module Columbia really refer to the Hollywood film studio responsible for Dr. Strangelove rather than its stated historical origins? Which is of course, pure speculation.
As for the Cardington employee’s privileged access to this project, it can only be that he wasn't the insignificant technician he made himself out to be to Bryant, he was more likely intimately involved in some way. But quite why he suddenly felt it all right to share hitherto allegedly classified photographs and speak of it publicly remains a mystery. The circumstances surrounding the disappearance of this witness from his lab job at the school following his conversation with Bryant regarding the events witnessed at Cardington, along with vague explanation of a ‘car crash or something’ are not entirely satisfactory. So for the time being these circumstances also remain a mystery. Perhaps this witness felt that by 2006, with the Apollo record openly questioned and demonstrably faked, it was now acceptable and safe to speak openly, even in the science based pro-NASA, pro-Apollo environment of the BAS. Which is of course, more speculation.
However, if that were the case, the untimely demise of North American Aviation’s quality controller Tom Baron might have advised him otherwise. Baron died, along with his wife and stepdaughter, in the very murky circumstances of a Florida railway crossing train/car crash on April 28, 1967, only days after his report on the technical inadequacies of the Apollo program had been submitted to a Congressional committee investigating NASA. And for those seeking to learn more, NASA unhelpfully publishes the introduction and general notes from Baron’s report under the misspelt name Barron.
It is becoming obvious that we have only begun to scratch the surface of the possible connections to be made from studying Kubrick’s films in detail. Many more must be out there waiting to be found. For example, the lab technician’s report of the LM suspended high in the roof at Cardington only reinforces our previous insights on the matter of Peter Pan rigs and wire flying (see Part One, Wire Flying). As Michael Benson states,
The wirework [for 2001] was handled by Eugene’s Flying Ballet and supervised by its leader Eric Dunning, who’d been trained by Arthur Kirby, the man who’d first demonstrated the technique in a sensational London staging of Peter Pan in 1904.16
Fig 79. The Peter Pan statue, Kensington Gardens, London, photo DSP
As does the fact that Peter Pan is quintessentially British. All these Peter Pan connections take us back to the beginning of this Part Two: to that anonymous blue plaque to JFK placed at Prince’s Gate, Kensington and to more hidden connections relative to the Apollo hoax program and its causative factors. (See Operation Peter Pan.15)
Firstly, Kensington Palace’s Royal Park is home to the statue of Peter Pan and secondly, taking a crow’s flight across the long water to the other side of this Royal Park will land you at No.14 Prince’s Gate. Just like MiIverton Lodge and Mapesbury, the house was originally discreetly and in this case internally connected to it’s neighbour, No.13.
No.14 had served as home to American ambassadors from 1929-1955 and JFK’s father was the US ambassador to the Court of St. James in 1938. A controversial person to say the least, Joseph Kennedy had strong ties to Hollywood and the underbelly of American business. His political views concerning Nazi Germany and appeasement led him to resign from the Court of St. James after only 28 months.
JFK himself only spent 15 months in Europe from June 1938 to September 1939, much of it travelling on the continent before going to Harvard. So while it is clear why his father would not merit a blue plaque, it is unclear why JFK would be cited on this anonymous plaque. Unless it is these hidden links which concur with much of the background story we are uncovering.
Should we also be remembering that JFK was attached to the Office of Naval Intelligence in 1941, and should we then be wondering if the US-generated Cuba project of 1962, called Operation Northwoods and rejected by JFK, had after all any relation to the NATO base at Northwood in the UK? From these musings we might then consider JFK’s lunar ambitions and the impossibility of achieving them in any practical sense. Then the two anonymous blue plaques at No.14 Prince’s Gate and at Abbot’s Mead resonate. And even more so when it is noted that 14 years of Kubrick’s work at Abbots Mead were commemorated, whereas no plaque has been installed at Kubrick’s second UK residence Childeburywick, where he lived for the next 20 years of his life, and where he completed The Shining.
And while we are on the subject of names and naming things, moving from plaques and hangars and from fiction to reality we find that the name of the fictional Stephen King character, the head chief Richard Dick Hallorann, certainly provided a good reason for Kubrick to choose the Stephen King novel as a basis for his film. Indeed, as LDS has pointed out, HALLORANN is coincidentally composed of the surname and first name of two real NASA characters (Heldon C. HALL and ORAN W. Nicks) both of whom played key roles in the Apollo program.
Hall was the main creator of the Apollo Guidance Computer and that brings to mind the arguments over the naming of the 2001 computer HAL 9000. Arthur C. Clarke openly wondered who had started the rumour that it had been based on a transposition of letters from IBM to HAL and spent his life maintaining that HAL stood for an Heuristically-programmed ALgorithmic computer. In doing so, he chose to completely ignore the fact that Harry Lange had always stated categorically that the alphabet transposition game IBM/HAL had been the origin of HAL 9000’s name.
Why there should have been a divergence of opinion between the author and the designer – apparently there was one origin story for the novel and another for the film script, which is interesting in itself – but if Kubrick had privately intended an additional reference to H.C. HALL then the disembodied A.I.’s verbal breakdown in the film is even more apposite, given that the Apollo on-board computer’s instructions were encoded for the astronauts as verbs and nouns, and later analysis has revealed that in reality the AGC did not function as published. (See Was the Apollo Computer Flawed?)
Oran W. Nicks was one of the four individuals responsible for defining the parameters of the manned landing lunar program. More specifically, he was in charge of the analysis of the lunar landscape, leaving the Apollo program in 1970.
You might very well think that Kubrick’s treatment of HAL 9000 in 2001 is showing us that he was initially welcomed and supported by NASA representatives. You might also think that the fact that both HAL 9000 and Hallorann were killed off in two films made by Kubrick were scenes intended to highlight the inadequacies of the Apollo technology, which in part led to the faking of the Apollo record. You might think that – he couldn't possibly comment.
Others have done so though. Over the years many people have suspected that Kubrick was somehow involved with the photography of the Apollo Moon landings. As we reach the end of the second part of this investigation it is increasingly clear that there is a correspondence between his films and the Apollo imagery. But even if we think we know, and even if we have correctly interpreted visual clues in his films as relating to a faked Apollo record, this analysis has thus far only examined a small portion of The Shining relative to 2001: A Space Odyssey and a small number of photos from the Apollo photographic record. For our hypothesis to have validity over and above the visual and circumstantial clues discussed so far – it also requires a proof of concept.
In Part Three we will propose a coherent framework for our hypothesis and fully examine our assertion that by using a brilliant, if rather basic solution, it would be entirely possible to have designed, organised and then have executed by others, the framing of all the Apollo coverage, whether at Cardington or elsewhere, including back in the US. And as we will see in the next part, the master references this over and over again. As his confidant and brother-in-law Jan Harlan says in the Kubrick Remembered documentary,
“If [Stanley] had anything important to say, he would put it in his film[s].”
©Mary Bennett and David S. Percy
Aulis Online, December 2020, updated February 2021
Stanley Kubrick and Apollo: Part One – Deliberate Errors
Stanley Kubrick and Apollo: Part Three – How did Stanley Kubrick achieve his aim regarding Apollo? – What did he encode in his films regarding Apollo and the US government agencies?
Reviews and Comments
"A zinger of an article, I really enjoyed it. Yes agreed, Cardington was the studio, just 42 miles away from Kubrick’s home in Borehamwood.”
– Jay Weidner, Apollo researcher and filmmaker
“You may well be right that the witness was more than just a technician at the time he met with the Apollo 11 astronauts. If the technician was working at Cardington as part of the ‘in house’ tech team, I rather suspect his services would have been retained by Kubrick et al. He was undoubtedly familiar with all the quirks of the electrical and mechanical aspects of the hangars.”
– David Bryant, Author and researcher
"A superb, deep dive into the ongoing process of uncovering the seemingly endless links with Apollo. The secret walkways, the anonymous blue plaques and the windows from the Cardington hanger showing up in lunar photographs and in The Shining all make for a riveting and engaging chapter in your irresistibly tenacious investigations uncovering the real story behind the fraud of Apollo. I like your mention of the Lookout Mountain Lab facility as being a potential location for the post production of the Apollo films and photographs."
– Marcus Allen, Apollo researcher and UK publisher Nexus magazine
"I believe you have uncovered very significant clues and made what I think are incontestable correlations (the corrugated window for example). You have also convinced me that Kubrick was intimately involved in setting up the hoax, as only he could have done, and The Shining is his mea culpa."
– Emanuel E. Garcia, Writer, Theatrical Director and Physician
It was known by 1950s that amplified light can carry sound (The 2001 File).
Regarding these 15 rib roasts, 30 ten-pound bags of hamburger, 12 turkeys, about 40 chickens, 50 sirloin steaks, 2 dozen pork roasts, 20 legs of lamb. and their significance other than as foodstuffs, Halloran tells Wendy that they could eat for a year with what is stored at the hotel. And looking at the specific foodstuffs, one could detect a certain shaping of the year or of events. Taking the last to be first and dealing with the pork roasts and the legs of lamb provided the clues that there were likely associations to be made with Apollo encodings.
The last two items on Halloran’s list work together: playing charades, the 24 pork roasts ‘sound like’ an allusion to the sound stages at MGM Borehamwood, the boar being of the porcine family and ham being a product of same. (Although, checking the origin of the name in the Concise Oxford Dictionary of English Place Names we find that the first element ‘Bor’ via OE and OHG* means ‘upper room’ while OE alone, links ‘Bor’ to ‘elevation’ and ‘hill’.) As feast days go, in Europe, the Boar’s head formed a central plank of the pagan seasonal year, being consumed especially around the December Solstice period. While the lamb, the last item on the C3 frozen cold room contents, was consumed around the time of the Spring Equinox festivities. These two seasonal rituals were later adapted by the Roman Catholic church as Christmas and Easter.
Coincidentally or not, it is of some interest that when it came to the genesis of 2001, these same ritual periods were mirrored. In 1964 Easter week went from Good Friday on March 27, Easter Sunday fell on the 29th, Easter Monday on the 30th and Stanley Kubrick sent his very first letter to Clarke on the 31st. A year later he echoed those dates by starting camera and lens tests at Shepperton on December 29, and filming the descent into the Tycho Monolith’s pit on December 30.
Seeing those correspondences led to noting that while turkeys are associated with the twelve days of Christmas in the UK. In America, however, the bird is associated with Thanksgiving Day. (This occurs on the 4th Thursday in November within a span of 5 days, never later than November 26th and never earlier than November 22nd – a day forever linked to the ‘turkey shoot killing’ of JFK, the US President who upset the engineers at NASA by setting the impossible target of getting Apollo to the Moon by the end of 1969.
This takes us to chickens and hamburgers, two of America’s preferred foods. The Sun’s day is attributed to the god Apollo and Kubrick’s post 2001 distributors, Warner Bros, had originally bought the rights to the 1943 American classic Chicken Every Sunday: My Life with Mother’s Boarders by Rosemary Taylor. The book highlighted the consequences of misplaced intentions and investments and on that note, we are immediately reminded of the old adage: ‘don’t count your chickens before they’re hatched’ because Hallorann hasn’t counted the chickens! Having cited very precise numbers for everything else he says ‘about 40 chickens’.
As for the bags of ground beef for Hamburgers, notwithstanding 2001 designer Harry Lange’s post-war connections with Hamburg in Germany, Apollo researchers have pointed out the links between major events of the Vietnam war and the scheduled Apollo missions. Apollo was not only a cover for the secretive CORONA satellite program, it also served to distract the American public from events in Vietnam. The infamous, unnecessary and costly assault on Hamburger Hill in May 1969 was planned and executed during the launch period assigned to the Apollo 10 mission.
Crossing the pond to Europe and England, roast beef is a dish particularly associated with the English, (who are dubbed the ‘Roast Beef’ by the French). So it is perhaps its noteworthy that rib roasts are cut from the sixth to the twelve rib. Do these hidden numbers again relate to Apollo mission numbers? The Apollo 6 test was a disaster for the Saturn V – but it was rated for crewed flights nonetheless. The Apollo 12 mission was a disaster with the public due to its distinct lack of TV images and the Apollo 15 mission was scheduled to land the LM with a low slung lunar rover, a lot like Danny’s Big Wheel.
And as for the high stakes, or rather those sirloin steaks: In the US a sirloin steak is called rump steak in Britain, while in another Kubrickian inversion, a British sirloin is called porterhouse in the US. In the older universities of Oxford and Cambridge, the Porter’s house is situated at the entryway to the principal Quadrangle. In government institutions not generally accessible to the public it becomes the sentry gates. All these items will turn out to be significant, as we move through this story.
(* OE means Old English and OHG Old High German).
Nowadays going under the name Cardington Studios, hangar No.2 it is often used by film companies, TV companies, advertising agencies and as a rehearsal space for large shows. Kubrick’s preferred distributor Warner Bros used the Cardington Studio complex from 2005 to 2012 for various productions. And in a supreme irony, given that Apollo LM suspended from the roof, Warner Bros 2015 release Peter Pan was also filmed at Cardington (Cardington Studios).
In 2018, The Shining was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
2001: A Space Odyssey had been inducted in 1991.
We consider that this analysis falls under the ‘fair use’ laws of the USA and the United Kingdom, and any copyrighted material is included on a not-for-profit basis for research, discussion and educational purposes only.