Braindead by the movies

[Firestarter]

I don't think this comes from Disney management directly. I've heard many aspiring animators feel mistreated or underpaid. If you abuse your most creative people long enough, they'll find artistic ways to get back at you or in this case, sneak inside jokes into the finished films.

So you don't believe that Disney is brainwashing our kids?!?

Do you also believe that Hollywood tells the truth on state terrorism: http://www.ronpaulforums.com/showthread.php?508442-List-of-admitted-false-flag-attacks

 

[VIDEODROME]

So you don't believe that Disney is brainwashing our kids?!?

Do you also believe that Hollywood tells the truth on state terrorism: http://www.ronpaulforums.com/showthread.php?508442-List-of-admitted-false-flag-attacks

I was referring mostly to the porn stuff. It's like a Tyler Durden thing lurking in the animation studio from disgruntled people.


As for generic plot structure well, look at what they've done with STAR WARS. For what it's worth, The Last Jedi basically ignored standards of normal hero progression as well as the direction and tone set by The Force Awakens leaving fans angry or bewildered. It really just wandered all over the damn place.

Otherwise, I'm not sure I see a strong agenda at least from Spielberg, more like watering down the story into something more mediocre and 'Happy'. The original short story The Minority Report was more complicated and interesting IMO. I also think he did screwy unnecessary changes to War of the Worlds.

 

[VIDEODROME]

Do you also believe that Hollywood tells the truth on state terrorism: http://www.ronpaulforums.com/showthread.php?508442-List-of-admitted-false-flag-attacks

I've been uninterested in watching any of these modern military War Hero flicks or stuff like American Sniper, so it's hard for me to comment specifically on those.

 

[Firestarter]

Hollywood slump

In tickets bought per US adult 2016 was the worst year for movies since before the 1920s and 2016 also had the fewest total ticket sales in 2 decades.
Ten percent of monthly filmgoers buy half of all movie tickets. Most people that watch movies in the cinema are young people (between 18 and 39). The most important demographic group for Hollywood, 18-to-24-year-olds, is going less and less to the cinema.

In 1980, Hollywood spent less than 20 cents on advertising for every $1 it earned at the box office. Now it spends 60 cents to earn a buck. Movie makers are spending an enormous amount of advertising money to create “blockbusters”.
In 1996, none of the 10 biggest films were sequels or superhero movies. In 2016, out of the 371 movies released, 4 superhero films — Captain America: Civil War; Deadpool; Batman vs. Superman; X-Men: Apocalypse — accounted for 29% of the total box office.

Hollywood has been shoving sequels down our throats for more than a decade. In 2011, the 7 top films were all sequels, including Fast 5 and Harry Potter.
Both in 2015 and 2016, 6 of the top 10 and 11 of the top 20 films were sequels. In 2015, the 8 biggest opening weekends were all sequels, including Furious 7 and the latest Star Wars.
It appears that even in the 21th century, people can get enough of seeing the same story retold over and over again.

That Hollywood is less influential in brainwashing us, doesn’t mean that people are “waking up” though. arguably the “new” mind control techniques are even more successful than the movies…
Our attention is now pouring into mobile devices, using Netflix, premium cable apps, YouTube, Facebook, and Snapchat: https://www.theatlantic.com/business/archive/2016/06/hollywood-has-a-huge-millennial-problem/486209/
(archived here: http://archive.is/nof5W)


In 2017, theatrical revenues in the US dropped another 2%, ending the year a little over $11 billion, while attendance went down another 4% to 5%. By inflating prices, the worldwide box office will likely hit new heights and could come close to a record breaking $40 billion.

At the beginning of 2017, the results looked even more devastating.
Beginning in September, when “It” (another remake) made $327.5 million in the US, theatres began to draw more visitors.

Indie favourites like “Lady Bird” and “Three Billboards Outside of Ebbing, Missouri” helped to bring people to the theatres, while “Star Wars: The Last Jedi” and “Coco” became box office smashes.
Other sequels - “Transformers: The Last Knight” and “Alien: Covenant” - performed less than expected.

Could Hollywood be trying to attract more people by using “adverse publicity”?!?
Several big moguls and movie stars have been accused of sexual harassment generating a huge amount of “publicity”: https://variety.com/2017/film/news/hollywood-2017-in-review-box-office-netflix-1202647206/

 

[DamianTV]

A big reason for that is Hollywood is Bankrupt.

Maybe not in a financial sense, but definitely in a creative sense. They also assume that people can pay what ever prices they decide to charge. Taking out the family for a day at the movies used to be a cheap way to entertain that family. Today, its a real kick in the nuts, and the wallet. Why? Perhaps people consider now that going to the movies is just financially irresponsible?

Something else most people have missed about Movies has nothing to do with Blockbusters, but rather the Middle Class Movies. Not in regards to the people that go to watch, but the budgets put forth for the films production. Flicks like Terminator 2 all the way to Avengers Series cost well over 100 million to produce. But what about the lesser films? Cloverfield was produced with a budget of about 35 million; it definitely did not cost over 100 million to produce. The production budgets that come out of Hollywood seem to reflect the population that watches them. Just as our Middle Class has taken a steep nosedive, films mirror this. We used to have a much larger Middle Class. Now we dont. We also used to have a lot of films produced with Middle Range Budgets. Now we dont. Its either low budget schlock or big big big big budget movies. Very few Middle Range Films are produced anymore as compared to previous years.

These are all symptoms, but not the actual cause of the real issue. The real issue is Inflation. Inflation is the Hidden Tax on the value of money. Value goes down, price of good, services, and movie tickets go up. Once they go up, they rarely come back down. The Stagflation, the Devauation of the Dollar, and Increase in Cost of Living has been reflected in what kinds of movies get made.

 

[acptulsa]

A big reason for that is Hollywood is Bankrupt. Maybe not in a financial sense, but definitely in a creative sense...

Flicks like Terminator 2 all the way to Avengers Series cost well over 100 million to produce. But what about the lesser films? Cloverfield was produced with a budget of about 35 million; it definitely did not cost over 100 million to produce...

Which is related, of course. When you can't come up with an original script, you try to come up with original special effects. When your scripts have more to do with propaganda than enlightenment or entertainment, you try to distract the audience with special effects. But movies would probably have gone that direction anyway. If you want to drag people to the cinema in the Age of Television and overcharge them, you have to overwhelm them. They don't know what else to do but produce images that are bigger than life.

Something enlightening might as well go straight to video. Hollywood doesn't know any other way to attract people to the big screen except go big.

If there were any brains in Hollywood, they'd realize they could make some headway by making community events. But I suppose there's no way to make a phenomenon like The Rocky Horror Picture Show on purpose. Great Scott! And if there is, Hollywood is too hidebound and scared to go outside the box--and lacking in humor--to be the one to do it.

Which isn't anything new. Hollywood couldn't do it 43 years ago, either. Rocky Horror was an indie production.

 

[Firestarter]

Hollywood and NASA

The Hollywood movie industry has been working with the Pentagon and CIA since its inception, but earlier this month I found out that NASA is even more closely affiliated with the NASA disinformation program.


The first Administrator of National Aeronautics and Space Administration (NASA) from 1958 to 1961 was Thomas Keith Glennan.
Glennan had already worked for the movies (for real) before turning his attention to the “hydrogen bomb” and “rocket science”.

After his graduation in 1927 until 1947 he worked in the film industry in the US and Britain, to become operations manager for Paramount and studio manager for Samuel Goldwyn.
In 1950, at President Harry S. Truman's request, Glennan became one of 5 commissioners of the Atomic Energy Commission for 2 years. The most significant hoax the commission staged was the hydrogen bomb.

One of Glennan’s first NASA recruits was German Nazi “rocket engineer” Wernher von Braun: https://www.nytimes.com/1995/04/12/obituaries/t-keith-glennan-89-first-chief-of-space-agency.html

For more information on Glennan’s career in the movies:

During his five and a half years at Paramount Glennan provided the logistics necessary to allow the studio's creative teams to stage their productions. He worked with such Hollywood notables as Cecil B. DeMille.
Glennan was also credited with important innovations in the film industry during his time at Paramount, including the first full-fledged engineering department in the business and the first recognized industrial relations department.

http://www.smashwords.com/extreader...anding-communications-satellites-nasa-sp-4105


Hermann Oberth was born on June 25, 1894 in Transylvania (then part of the Austro-Hungarian empire now part of Romania). He was born to German speaking parents and became a German.
At an early age, Oberth became a huge fan of spaceflight science fiction by authors like Jules Verne. Just like Wernher von Braun and Robert Goddard.

Oberth learned of the 1919 book by Robert Goddard "A Method Of Reaching Extreme Altitudes". In 1922, Oberth wrote to Goddard and suggested an international project to develop liquid-fuelled rockets.
In 1923, Oberth published his book "Die Rakete Zu Den Planetenraumen" (The Rocket Into Planetary Space).
In 1927, Oberth joined the Verein fur Raumschiffahrt (Society for Space Travel) to become its president. Members of the Verein fur Raumschiffahrt included: Willy Ley, Johannes Winkler, Max Valier, Rudolf Nebel, Kurt Hainisch, Walter Hohmannn, Eugene Sanger , Klaus Riedel, Rolf Engel, and the young Wernher von Braun.

In 1928, Oberth became technical advisor to director Fritz Lang, who was filming the movie "Frau Im Mond" (Woman in the moon). On the set Oberth was helped by Ley, Valier, Nebel, Riedel and the young and eager science fiction fan Wernher von Braun.
Oberth (with the help of Von Braun) constructed and tested a small rocket engine on 23 July 1930. See members of the Verein fur Raumschiffahrt with the rocket in Berlin, 1930. From left to right: Rudolf Nebel, Franz Ritter, unknown, Kurt Heinisch, unknown, Hermann Oberth, unknown, Klaus Riedel, Wernher von Braun, unknown.

Oberth worked at Peenemunde from 1941 to 1943.
After World War II, Oberth came to the US to continue to continue his “rocket science” work with Wernher von Braun at the Army Ballistic Missile Agency: http://waterocket.explorer.free.fr/herman_oberth.htm
(archived here: http://archive.is/NBvs)

Fritz Lang is best known for his futuristic masterpiece Metropolis (1926) that nearly bankrupted Germany’s state-financed studio, Ufa.
Lang worked closely with Germany’s leading rocketry science fiction expert, Hermann Oberth, and they visually replicated the rocket described in Oberth’s book, "Die Rakete Zu Den Planetenraumen".
Forty years later the Apollo 11 moon landing closely followed Lang’s and Oberth’s “film script”.

The film featured a multiple-stage booster system to attain escape velocity; a fin stabilisation design for the rocket’s base; before the launch, a media frenzy descends upon the area; and a count down to zero for launch.
The movie shows a crew floating in zero gravity in the space ship.
After the rocket lands on the moon, the crew encounters lower gravity.

As part of the film’s publicity, Oberth and Wernher von Braun tried to launch an actual rocket for the film’s premiere. This stunt failed.
Oberth also advised for the American movie of the moon landing “Destination Moon” (1950)”: http://sensesofcinema.com/2004/cteq/woman_in_the_moon/
(archived here: http://archive.is/xL56h)


Wernher Magnus Maximilian Freiherr von Braun (1912 – 1977) was a German-born science fiction writer. His father, Magnus Freiherr von Braun served as Minister of Agriculture. His mother, Emmy von Quistorp traced her ancestry to medieval European royalty and was a descendant of Philip III of France, Valdemar I of Denmark, Robert III of Scotland, and Edward III of England. He descended from Royal blood.
In 1947, the 34-year-old Von Braun married his 18-year-old maternal first cousin, Maria Luise von Quistorp (born in 1928). Von Braun had been “wooing” the underage Maria for years

Von Braun had been involved in the development of rocket technology in Germany with Oberth, and helped to develop the V-2 rocket. Before 1939, German “scientists” contacted American physicist Robert H. Goddard with technical questions. Goddard helped them to develop the A-4 rocket that would later become known as the V-2.
Hitler personally made Von Braun a professor because he had showed him a colour movie with an A-4 taking off on 7 July 1943; an exceptional promotion for an engineer of only 31 years.

After the “suicide” of Adolf Hitler was announced, Von Braun immediately joined the Allied forces, at the beginning of May 1945. He and his group that developed missile technology were part of the about 1,600 German “scientists” that were recruited by the US in Operation Paperclip.
Between 1952 and 1956, Von Braun led the Army's rocket development team that developed the Redstone rocket for nuclear ballistic missiles. Van Braun supposedly developed the rockets that launched the US’s first space satellite Explorer 1.
Wernher von Braun and his group were recruited by NASA in 1958.

In 1952, Von Braun first published his science fiction story on a manned space station in a series of articles titled "Man Will Conquer Space Soon!". This built on the 1929 science fiction story by Herman Potocnik in his book “The Problem of Space Travel – The Rocket Motor”.
The 1968 movie “2001: a space odyssey“ would draw heavily on this story.

Von Braun also made science fiction television films with Walt Disney and the Disney studios in the 1950s. The initial broadcast about space exploration “Man in Space” had 40 million viewers.
See Wernher von Braun, Willi Ley, Walt Disney and Dr. E. Heinz Haber (another Nazi Rocket "scientist" brought to the US in Operation Paperclip).

In staging Apollo, Von Braun worked closely with former Peenemünde teammate, Kurt H. Debus, the first director of the Kennedy Space Center. His dream to make “The first men in the moon” story believed by the world became a reality in July 1969.
Von Braun retired from NASA on 26 May 1972: https://en.wikipedia.org/wiki/Wernher_von_Braun

In 1930, von Braun attended the Technische Hochschule Berlin, where he joined the Spaceflight Society and assisted Willy Ley in his liquid-fuelled rocket motor tests with Hermann Oberth.
German immigrant Willi Ley was America’s primary source on the Vril Society and the flying saucer technology of Nazi Germany. Ley had been a Vril-Thule member.

Starting in 1931, Willi Ley tutored Wernher von Braun on rocket science. In 1939, Wernher von Braun became a high ranking Nazi SS Officer. He was head of the team that designed the German V-2 rockets.
In 1945, through “Operation Paperclip” Von Braun was brought to the US where he became a founder of the US disinformation campaign NASA.
https://www.resistance2010.com/m/blogpost?id=3228704:BlogPost:331860
(archived here: http://archive.is/pUMp1)


In 2013, banker’s son Frederick Ira Ordway III (1927-2014) was awarded the Arthur C. Clarke Lifetime Achievement Award.
Ordway had been a huge fan of science fiction on space travel since he since he was 10. In 1941, Ordway (13) became a member of the American Rocket Society.
In 1950, Ordway first met science fiction writer Arthur C. Clarke, who helped him to become a fellow of the British Interplanetary Society. They became long-time friends.
Ordway became a top official at NASA and worked closely with Wernher von Braun, including on the Apollo program.

In 1965, Ordway met Clarke who was working with movie director Stanley Kubrick on a science fiction movie based on his story “The Sentinel”. Ordway became the “scientific and technical advisor” to the film that became “2001: A Space Odyssey” (1968): http://www.clarkefoundation.org/2013/10/lifetime-achievement-frederick-i-ordway-iii/

Ordway wasn’t only working on the movie with NASA officials, but also with major corporations like General Electric, Bell Telephone Laboratories and IBM.

NASA’s Associate Administrator for Manned Space Flight, George Mueller, nicknamed the film’s production facilities “NASA East”.
See from left to right NASA officials touring MGM Borehamwood during pre-production of “2001: A Space Odyssey”: Fred Ordway, Deke Slayton (astronaut), Arthur C. Clarke, anonymous NASA assistant, Stanley Kubrick, and George C. Mueller.

Ordway explained about “rocket scientists”:

They all read H. G. Wells and Jules Verne. Science fiction got us all started in the early days, I think without exception.

In 1949, Arthur C. Clarke helped to make his friend Von Braun an honorary member of the British Interplanetary Society: http://thetruthseekersguide.blogspot.com/2014/01/the-stanley-kubrick-conspiracy-part-3.html


Also involved in both NASA and “2001: A Space Odyssey” was the German-born Harry Lange (born 1930), Ordway’s partner in their General Astronautics publishing and consultancy company. Lange was specialised in making science fiction drawings.

In 1954, Ordway and Lange helped set up General Astronautics that in 1960 was acquired by NASA.
Lange made illustrations to promote the science fiction projects of Von Braun. Von Braun told him: "Harry, your work makes money".

After “2001: A Space Odyssey”, Lange settled in England to design sets for films, including Kelly's Heroes (1970); Star Wars (1977); The Empire Strikes Back (1980); The Return of the Jedi (1983); Moonraker (1979); and The Meaning of Life (1983): https://www.theguardian.com/film/2008/jul/08/obituaries.culture

 

[Swordsmyth]

The Hollywood movie industry has been working with the Pentagon and CIA since its inception, but earlier this month I found out that NASA is even more closely affiliated with the NASA disinformation program.


The first Administrator of National Aeronautics and Space Administration (NASA) from 1958 to 1961 was Thomas Keith Glennan.
Glennan had already worked for the movies (for real) before turning his attention to the “hydrogen bomb” and “rocket science”.

After his graduation in 1927 until 1947 he worked in the film industry in the US and Britain, to become operations manager for Paramount and studio manager for Samuel Goldwyn.
In 1950, at President Harry S. Truman's request, Glennan became one of 5 commissioners of the Atomic Energy Commission for 2 years. The most significant hoax the commission staged was the hydrogen bomb.

One of Glennan’s first NASA recruits was German Nazi “rocket engineer” Wernher von Braun: https://www.nytimes.com/1995/04/12/obituaries/t-keith-glennan-89-first-chief-of-space-agency.html

For more information on Glennan’s career in the movies: http://www.smashwords.com/extreader...anding-communications-satellites-nasa-sp-4105


Hermann Oberth was born on June 25, 1894 in Transylvania (then part of the Austro-Hungarian empire now part of Romania). He was born to German speaking parents and became a German.
At an early age, Oberth became a huge fan of spaceflight science fiction by authors like Jules Verne. Just like Wernher von Braun and Robert Goddard.

Oberth learned of the 1919 book by Robert Goddard "A Method Of Reaching Extreme Altitudes". In 1922, Oberth wrote to Goddard and suggested an international project to develop liquid-fuelled rockets.
In 1923, Oberth published his book "Die Rakete Zu Den Planetenraumen" (The Rocket Into Planetary Space).
In 1927, Oberth joined the Verein fur Raumschiffahrt (Society for Space Travel) to become its president. Members of the Verein fur Raumschiffahrt included: Willy Ley, Johannes Winkler, Max Valier, Rudolf Nebel, Kurt Hainisch, Walter Hohmannn, Eugene Sanger , Klaus Riedel, Rolf Engel, and the young Wernher von Braun.

In 1928, Oberth became technical advisor to director Fritz Lang, who was filming the movie "Frau Im Mond" (Woman in the moon). On the set Oberth was helped by Ley, Valier, Nebel, Riedel and the young and eager science fiction fan Wernher von Braun.
Oberth (with the help of Von Braun) constructed and tested a small rocket engine on 23 July 1930. See members of the Verein fur Raumschiffahrt with the rocket in Berlin, 1930. From left to right: Rudolf Nebel, Franz Ritter, unknown, Kurt Heinisch, unknown, Hermann Oberth, unknown, Klaus Riedel, Wernher von Braun, unknown.

Oberth worked at Peenemunde from 1941 to 1943.
After World War II, Oberth came to the US to continue to continue his “rocket science” work with Wernher von Braun at the Army Ballistic Missile Agency: http://waterocket.explorer.free.fr/herman_oberth.htm
(archived here: http://archive.is/NBvs)

Fritz Lang is best known for his futuristic masterpiece Metropolis (1926) that nearly bankrupted Germany’s state-financed studio, Ufa.
Lang worked closely with Germany’s leading rocketry science fiction expert, Hermann Oberth, and they visually replicated the rocket described in Oberth’s book, "Die Rakete Zu Den Planetenraumen".
Forty years later the Apollo 11 moon landing closely followed Lang’s and Oberth’s “film script”.

The film featured a multiple-stage booster system to attain escape velocity; a fin stabilisation design for the rocket’s base; before the launch, a media frenzy descends upon the area; and a count down to zero for launch.
The movie shows a crew floating in zero gravity in the space ship.
After the rocket lands on the moon, the crew encounters lower gravity.

As part of the film’s publicity, Oberth and Wernher von Braun tried to launch an actual rocket for the film’s premiere. This stunt failed.
Oberth also advised for the American movie of the moon landing “Destination Moon” (1950)”: http://sensesofcinema.com/2004/cteq/woman_in_the_moon/
(archived here: http://archive.is/xL56h)


Wernher Magnus Maximilian Freiherr von Braun (1912 – 1977) was a German-born science fiction writer. His father, Magnus Freiherr von Braun served as Minister of Agriculture. His mother, Emmy von Quistorp traced her ancestry to medieval European royalty and was a descendant of Philip III of France, Valdemar I of Denmark, Robert III of Scotland, and Edward III of England. He descended from Royal blood.
In 1947, the 34-year-old Von Braun married his 18-year-old maternal first cousin, Maria Luise von Quistorp (born in 1928). Von Braun had been “wooing” the underage Maria for years

Von Braun had been involved in the development of rocket technology in Germany with Oberth, and helped to develop the V-2 rocket. Before 1939, German “scientists” contacted American physicist Robert H. Goddard with technical questions. Goddard helped them to develop the A-4 rocket that would later become known as the V-2.
Hitler personally made Von Braun a professor because he had showed him a colour movie with an A-4 taking off on 7 July 1943; an exceptional promotion for an engineer of only 31 years.

After the “suicide” of Adolf Hitler was announced, Von Braun immediately joined the Allied forces, at the beginning of May 1945. He and his group that developed missile technology were part of the about 1,600 German “scientists” that were recruited by the US in Operation Paperclip.
Between 1952 and 1956, Von Braun led the Army's rocket development team that developed the Redstone rocket for nuclear ballistic missiles. Van Braun supposedly developed the rockets that launched the US’s first space satellite Explorer 1.
Wernher von Braun and his group were recruited by NASA in 1958.

In 1952, Von Braun first published his science fiction story on a manned space station in a series of articles titled "Man Will Conquer Space Soon!". This built on the 1929 science fiction story by Herman Potocnik in his book “The Problem of Space Travel – The Rocket Motor”.
The 1968 movie “2001: a space odyssey“ would draw heavily on this story.

Von Braun also made science fiction television films with Walt Disney and the Disney studios in the 1950s. The initial broadcast about space exploration “Man in Space” had 40 million viewers.
See Wernher von Braun, Willi Ley, Walt Disney and Dr. E. Heinz Haber (another Nazi Rocket "scientist" brought to the US in Operation Paperclip).

In staging Apollo, Von Braun worked closely with former Peenemünde teammate, Kurt H. Debus, the first director of the Kennedy Space Center. His dream to make “The first men in the moon” story believed by the world became a reality in July 1969.
Von Braun retired from NASA on 26 May 1972: https://en.wikipedia.org/wiki/Wernher_von_Braun

In 1930, von Braun attended the Technische Hochschule Berlin, where he joined the Spaceflight Society and assisted Willy Ley in his liquid-fuelled rocket motor tests with Hermann Oberth.
German immigrant Willi Ley was America’s primary source on the Vril Society and the flying saucer technology of Nazi Germany. Ley had been a Vril-Thule member.

Starting in 1931, Willi Ley tutored Wernher von Braun on rocket science. In 1939, Wernher von Braun became a high ranking Nazi SS Officer. He was head of the team that designed the German V-2 rockets.
In 1945, through “Operation Paperclip” Von Braun was brought to the US where he became a founder of the US disinformation campaign NASA.
https://www.resistance2010.com/m/blogpost?id=3228704:BlogPost:331860
(archived here: http://archive.is/pUMp1)


In 2013, banker’s son Frederick Ira Ordway III (1927-2014) was awarded the Arthur C. Clarke Lifetime Achievement Award.
Ordway had been a huge fan of science fiction on space travel since he since he was 10. In 1941, Ordway (13) became a member of the American Rocket Society.
In 1950, Ordway first met science fiction writer Arthur C. Clarke, who helped him to become a fellow of the British Interplanetary Society. They became long-time friends.
Ordway became a top official at NASA and worked closely with Wernher von Braun, including on the Apollo program.

In 1965, Ordway met Clarke who was working with movie director Stanley Kubrick on a science fiction movie based on his story “The Sentinel”. Ordway became the “scientific and technical advisor” to the film that became “2001: A Space Odyssey” (1968): http://www.clarkefoundation.org/2013/10/lifetime-achievement-frederick-i-ordway-iii/

Ordway wasn’t only working on the movie with NASA officials, but also with major corporations like General Electric, Bell Telephone Laboratories and IBM.

NASA’s Associate Administrator for Manned Space Flight, George Mueller, nicknamed the film’s production facilities “NASA East”.
See from left to right NASA officials touring MGM Borehamwood during pre-production of “2001: A Space Odyssey”: Fred Ordway, Deke Slayton (astronaut), Arthur C. Clarke, anonymous NASA assistant, Stanley Kubrick, and George C. Mueller.

Ordway explained about “rocket scientists”:
In 1949, Arthur C. Clarke helped to make his friend Von Braun an honorary member of the British Interplanetary Society: http://thetruthseekersguide.blogspot.com/2014/01/the-stanley-kubrick-conspiracy-part-3.html


Also involved in both NASA and “2001: A Space Odyssey” was the German-born Harry Lange (born 1930), Ordway’s partner in their General Astronautics publishing and consultancy company. Lange was specialised in making science fiction drawings.

In 1954, Ordway and Lange helped set up General Astronautics that in 1960 was acquired by NASA.
Lange made illustrations to promote the science fiction projects of Von Braun. Von Braun told him: "Harry, your work makes money".

After “2001: A Space Odyssey”, Lange settled in England to design sets for films, including Kelly's Heroes (1970); Star Wars (1977); The Empire Strikes Back (1980); The Return of the Jedi (1983); Moonraker (1979); and The Meaning of Life (1983): https://www.theguardian.com/film/2008/jul/08/obituaries.culture

Interesting information.

Have you heard of or looked into Miles Mathis?
I don't always agree with him 100% but he has exposed some very interesting information along these lines, I think you and he might benefit from one another.

 

[Firestarter]

Have you heard of or looked into Miles Mathis?
I don't always agree with him 100% but he has exposed some very interesting information along these lines, I think you and he might benefit from one another.

I've read a few stories from Miles Mathis that after he makes some good observations turn completely ridiculous. I've read a few on "suspicious deaths" where Mathis always ends up ridiculing the "sheeple" for not seeing that their death was faked...

According to Miles Mathis, Elvis was a Jew. It was easy to find out that there is not a shred of evidence: https://forum.davidicke.com/showpost.php?p=1063003634&postcount=26

Miles Mathis is a disinformation agent...

 

[Firestarter]

NASA, Hollywood – Bromance

The connections between NASA and Hollywood keep piling up…


Arguably the most important “evidence” of Armstrong and Aldrin doing their “One small step for man...” was destroyed to “save money”...

In 2009, NASA admitted that the original tapes of the first, Apollo 11, moon landing were probably erased. NASA engineer Richard Nafzger stated that these historic tapes were erased and reused to help save money during the 1970s and 1980s.
These tapes were reportedly of a much better quality than the fuzzy video that was shown on telescreens all over the world.

Just like any other movie, Hollywood has assisted NASA in “digitally remastering” the original footage of the first moon landing to improve the images …
The digital restoration was carried out by the same Burbank, California firm Lowry Digital, that also “remastered” 400 (other) films, including the first Star Wars trilogy.

According to NASA engineer Richard Nafzger:

There is nothing being created or manufactured here. We are restoring and extracting data from the video.

https://www.telegraph.co.uk/news/sc...landing-footage-enhanced-Hollywood-style.html
(archived here: http://archive.is/FEA3o)


In 1941, former Disney animator Lester Novros founded Graphic Films that made propaganda films for commercial and government clients like Lockheed, Boeing, the US Air Force and NASA.

Stanley Kubrick saw NASA propaganda film “To The Moon And Beyond” made by Graphic Films. In 1965, Kubrick recruited Graphic Films’ Lester Novros, Con Pederson, and Douglas Trumbull to work on “2001: A Space Odyssey”.

Graphic Films advised Kubrick on special effects. Pederson sent Kubrick a film made by experimental filmmaker John Whitney, Sr., Novros’ long-time friend and colleague. Douglas Trumbull further developed Whitney’s slit-scan technique that was used for the “Stargate” sequence towards the end of 2001.
Pederson wrote to Kubrick about the slit scanning technique that “Its possibilities are limitless”.

Other artist involved in “2001: A Space Odyssey”: illustrators Chesley Bonestell, Roy Carnon, and Richard McKenna; artificial intelligence pioneer Marvin Minsky; IBM industrial designer Eliot Noyes; and effects artist Wally Gentleman (who’d worked on Universe for the National Film Board of Canada): http://scienceandfilm.org/articles/2656/graphic-films-and-the-inception-of-2001-a-space-odyssey

After working in advertising, Douglas Trumbull continued his career by working for the small Graphic Films company, who made propaganda films for NASA.
Trumbull made all the artwork for “To The Moon And Beyond”.

Trumbull would later make special effects for films like The Andromeda Strain, Close Encounters, Blade Runner and Star Trek: The Motion Picture. Trumbull's debut as director was the science fiction movie Silent Running (1972).
At the beginning of the 1980s his career in the movies was somehow derailed.

After that Steven Spielberg asked Trumbull to work on the Back to the Future ride.
Years later Trumbull did the special effects for The Tree of Life (2011): https://www.theguardian.com/film/2011/jul/09/douglas-trumbull-special-effects


The “bromance” between NASA and Hollywood has continued to this very day.
No government agency is so intertwined with Hollywood as NASA. NASA provides material support for space movies to justify its $19 billion annual budget. NASA also stages PR stunts like interviews with astronauts from space and science experiments from the International Space Station for the kids.
NASA actually negotiates with the movie studios to get more exposure.

Naturally NASA worked on Ron Howard’s Apollo 13 (1995).
NASA’s Boeing KC-135 aircraft, normally used to prepare astronauts for zero gravity, was also used to shoot the weightless scenes with the stars of the movie Tom Hanks, Kevin Bacon, and Bill Paxton.

Hollywood has worked on space movies like: Gravity, Hidden Figures, Passengers, The Space Between Us, and Life. In many of these cases, NASA offered expertise, personnel, and even shooting locations, to bring these propaganda films to life.
Bert Ulrich has worked on dozens of films for NASA, including: The Avengers, Hidden Figures, and Transformers: Dark of the Moon. During the filming of Tomorrowlandat the Kennedy Space Center, Ulrich watched the launch of the Mars maven probe with stars in the movie Hugh Laurie and George Clooney. He also hoped to get approval for First Man, with Ryan Gosling as Neil Armstrong.

Not all the films that NASA is involved in feature the official NASA logo.
Space movies that don’t feature enough NASA input, like Gravity, are often ridiculed for their lack of “scientific accuracy”.

NASA’s main mission these days is Mars — President Donald even met Elon Musk to talk about a possible flight.
One of the most prominent film projects was Ron Howard’s National Geographic “documentary”Mars.

NASA also helped on Ridley Scott’s 2015 film The Martian. Jim Green, director of NASA’s Planetary Science Division, was asked to speak with Ridley. Green is the head of a $1.6 billion division that apparently could find nothing better to do than consult a movie director.
According to the state propaganda, the result was one of the most realistic depictions of a mission to Mars ever.
The Martian got 7 Oscar nominations and generated priceless publicity for the space program. After the movie was completed, star of the movie Matt Damon even visited the Jet Propulsion Laboratory facility in California for a press event alongside astronaut Drew Feustel and other NASA employees.

NASA was pleased that Margot Lee Shetterly’s book Hidden Figures was filmed, about 3 African-American mathematicians who helped launch John Glenn: https://www.mensjournal.com/entertainment/the-nasa-hollywood-bromance-w470462/

 

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The Pentagon and Pol Pot

An American got information on propaganda movies in which the Pentagon collaborated by means of a FOIA request.
He got a 2014 list with 323 movies and a 2016 file with 410. The 90 added movies were mostly “older” films; some from the 2014 list were excluded.
Both lists aren’t complete. The 2015 film Aloha, is for example missing, but this is referred to in the Air Force’s entertainment liaison office reports.

Following are some of the propaganda movies in which the Pentagon collaborated:
Apollo 13; Armageddon; Batman and Robin; Superman vs Batman; A bridge too far;
Clear and present danger; The hunt for Red October; Patriot games; Sum of all fears;
Empire of the sun; From here to eternity; Godzilla;
Goldfinger; License to kill;
I am legend; Indiana Jones and the last crusade; Jurassic park III;

The killing fields; Karate kid II; The next Karate kid;
The silence of the lambs; Sleepless in Seattle;
Star Trek IV; Star Trek: resurrection; Top Gun;
Transformers; Transformers 2; Transformers 3; Transformers dark of the moon; Transformers: revenge of the fallen;
True lies: https://www.spyculture.com/updated-complete-list-of-dod-films/


I think this is a good time to respond to the propaganda of “The killing fields” movie with some historic information on what happened in Cambodia…

The US began bombing Cambodia in 1965. In 1969, the US air war against Cambodia escalated as part of Nixon’s policy. From 1965 until 1973, the US Air Force dropped bombs from more than 230,000 sorties on over 113,000 sites.
In 1970, President Richard Nixon and National Security Advisor (and later Secretary of State) Henry Kissinger decided to go for an all-out bombing campaign of Cambodia.
According to the Cambodian genocide scholar, Ben Kiernan, the US bombs killed between 50,000 and 150,000.

As a direct result of the bombing campaign, Khmer Rouge fighters swelled from 10,000 in 1969, to more than 200,000 in 1973.
In April 1975, the Khmer Rouge took control of Cambodia and renamed it Democratic Kampuchea.
In November 1975 — seven months after the Khmer Rouge had taken control of Phnom Penh — Henry Kissinger said to Thailand’s foreign minister that he:

should tell [the KR] that we bear no hostility towards them. We would like them to be independent as a counterweight to North Vietnam.
[You] should also tell the Cambodians that we will be friends with them. They are murderous thugs, but we won’t let that stand in our way. We are prepared to improve relations with them.

At the end of 1978, Vietnam invaded Cambodia and toppled the Khmer Rouge government in early 1979.
An estimated 1.7 million Cambodians (21% of the population) were killed by the Khmer Rouge.

Khmer Rouge forces fled to western Cambodia on the Thai border to begin a guerrilla campaign against the new, Vietnamese-installed Cambodian government.
The US used China to continue the support for the Khmer Rouge in their campaign against the Vietnamese occupation.
The Carter administration supported overt Chinese aid to the Khmer Rouge. National security advisor Zbigniew Brzezinski explained that he “encourage[d] the Chinese to support Pol Pot”. The Associated Press estimated that China supplied Khmer Rouge guerrillas with about $100 million of military aid per year throughout the 1980s.

The US refused to call the mass murder by the Khmer Rouge from 1975 to 1979 “genocide” until 1989, when support finally came to an end: https://www.jacobinmag.com/2015/04/khmer-rouge-cambodian-genocide-united-states/
(archived here: http://archive.is/DikSr)

“The killing fields” was nominated for 7 Oscars and won 3, while Henry Kissinger won the Nobel Prize for orchestrating the “peace”…

 

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DEA in propaganda production

Through the Freedom of Information Act 184 pages of contracts were obtained between the Drug Enforcement Administration (DEA) and producers of documentaries, reality shows, and dramas.
In some situations, the DEA cherry picks cases, which form the basis for fictional and factual productions that makes them look good.

The contracts show that the DEA has near-total control over these productions.
See some excerpts from the contracts:

DEA supervisors on the scene shall have the final say in approving any filming during real-time law enforcement operations.

Producer agrees to abide by DEA’s requests to modify, delete or otherwise change an image or sound for any of the purposes identified in this paragraph.

Producer will not broadcast the Program, without first allowing a senior DEA official to review the Program and make the determinations described in paragraph 5.

DEA supported dozens of projects, including; Cops and Coyotes; Drugs Inc.; Gangsters: America’s Most Evil; Canada drug kingpin;
Pure; The Notorious Mr. Bout; Declassified: Untold Stories of American Spies.
The DEA even worked with the US government-funded Middle East Broadcasting Network.

The DEA refused to release the contracts from: Breaking Bad; Narcos; Finding Escobar’s Millions; Battle Zone: The Origins of Sicario.
Even though reports show that these employed DEA employees as consultants.
The DEA claimed that they couldn’t find the records for “Breaking Bad”.

The makers of “Lethal Cargo” were only permitted to interview one DEA employee, and weren’t allowed to talk about several topics, including: Information relating to the production and consumption status of a country and that country’s law enforcement approach to drug trafficking;
the port of Valencia as an ingress point for cocaine;
the Nigerian mafia as couriers.

As a consequence of these contracts, these productions tell the story that the DEA are heroes, who are fighting the “bad guys” who threaten American society.
According to author Doug Valentine:

Positive P.R. is more important [to the DEA] than accurate portrayal.
It’s propaganda B.S. pure and simple.

I talk a lot about the myth of the hero. They want to portray themselves as heroes on a noble cause. They demand total control over the narrative.

https://www.mintpressnews.com/contr...s-control-television-film-productions/258888/


For information on drug trafficking by intelligence agencies, including the CIA and Dutch AIVD: http://www.ronpaulforums.com/showthread.php?508005-Drugs-profits-for-Oil-wars

 

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The Jewish Neal Gabler, wrote a book on how the Jews started (and control) Hollywood “An Empire of Their Own: How the Jews Invented Hollywood” (1988).
Neal Gabler, 6 Jews that made Hollywood

See the following excerpt of the documentary made in 1998 of Gabler’s book.
It explains how the American Dream, Academy Awards (Oscars) and Broadway musicals were all invented by Jews.
EDIT - videos were deleted.
https://www.youtube.com/watch?v=iCnKOKgWEmY

Here’s the full (?) documentary on Neal Gabler’s book (59:05): https://www.youtube.com/watch?v=WTaGBcHo9DI

For some reason the previous Youtubes were deleted...

Here’s the full (?) 1998 documentary on Neal Gabler’s book...

 

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Lord Bertrand Russell adopted the Frankfurt School's ideas for mass social engineering which he described in his 1951 book "The Impact of Science on Society".
Willi Munzenberg summed up the Frankfurt School’s goals with: "We will make the West so corrupt that it stinks".

In 1923 the "Institute" was officially established with funding from Felix Weil (1898-1975). One of the people involved with founding the Frankfurt School was the Jewish Hungarian banker son Georg Lukacs.
When Hitler came to power, the members of the Institut relocated to the US, where they infiltrated the major US universities including: Columbia, Princeton, Brandeis, and Berkeley.

Later the Frankfurt School included as members: Herbert Marcuse (the 1960s guru of the New Left), Max Horkheimer, Theodor Adorno, Erich Fromm (the writer), Leo Lowenthal, and Jurgen Habermas.

The "Frankfurt School" was a group of German-American scholars who developed a method to destroy society as we know it, to makes the herd easier to control through a "quiet cultural revolution" that included:
1. The creation of racism offences; 2. Continual change to create confusion; 3. The teaching of sex and homosexuality to children; 4. The undermining of schools’ and teachers’ authority;
5. Mass immigration to destroy identity.; 6. The promotion of excessive drinking, 7. Emptying churches; 8. An unreliable legal system with bias against victims of crime;
9. Dependency on the state or state benefits; 10. Control and dumbing down of media; 11. Encouraging the breakdown of the family.

Needless to say that the Frankfurt School's dogma also promoted the radical feminist pronouncements that has dominated all major newspapers, television programmes and education (until it was overrun by the LGBT madness: https://archive.ph/2Sq3K


The Frankfurt school (really called the Institute for Social Research) after it relocated to New York, in the 1930s was funded by the American Jewish Committee.
The Institute developed a critical social theory of which the heart and soul consisted of fighting anti-Semitism.

The American Jewish Committee had been co-founded by Zionist banker Jacob H. Schiff, affiliated with the Rothschild and Warburg families.
Not very surprising, in the 1930s the Anti-Defamation League also worked with the American Jewish Committee to spy on activities of the German-American Bund and other "pro-Nazi" groups in the US.

The Frankfurt school's Max Horkheimer and Theodor Wisegrund Adorno promoted the idea that fascist anti-Semitism comes from people who are too obedient to an authoritarian government: https://newpol.org/review/frankfurt-school-and-jews/
(https://archive.ph/j7Ukj)


The Frankfurt school focused on technology and entertainment for brainwashing purposes.
Technology could make individuals conform to the dominant patterns of thought and behaviour, and provide powerful instruments of social control.

In 1941, the Frankfurt school's Herbert Marcuse argued that technology constitutes an entire "mode of organizing and perpetuating (or changing) social relationships, a manifestation of prevalent thought and behavior patterns, an instrument for control and domination".

In 1969, the Frankfurt school's Walter Benjamin described how new mass media were supplanting older forms of entertainment, and newer releases replaced the interest in art of an earlier era.

The Frankfurt school's Jurgen Habermas described how the relationship between public debate and individual participation had been fractured into a realm of political manipulation and spectacle. "Citizens" become spectators of media presentations and are reduced to "objects of news, information, and public affairs".

Inasmuch as the mass media today strip away the literary husks from the kind of bourgeois self-interpretation and utilize them as marketable forms for the public services provided in a culture of consumers, the original meaning is reversed.

https://pages.gseis.ucla.edu/faculty/kellner/essays/frankfurtschool.pdf

 

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Since the 1910s there is a strong affiliation between Hollywood and the Pentagon. The Pentagon has given “advice” and provided material and personnel for lots of movies; Phil Strub of the Pentagon alone was involved with over 50 movies: http://america.aljazeera.com/articl...entagonarelationshipofmutualexploitation.html

The following 11 movies (since 2001) are all US propaganda (many with the help of CIA and/or Pentagon) – Pearl Harbor, The Sum of all fears, United 93, The hurt locker, Iron man, Skyfall, Zero dark thirty, Argo, Captain Philips, The interview, American sniper

I think that it shouldn’t surprise anybody that James Bond, Top Gun and the movie adaptions of Tom Clancy stories were funded by the Pentagon…
Several of the biggest film franchises were made under control of the Pentagon.
.
"4 of the 10 biggest film franchises in the world have received major support from government agencies – James Bond, the Marvel Cinematic Universe, Fast and Furious and Transformers. 2 more have received some kind of assistance or involvement, at least from the DOD – Batman and Pirates of the Caribbean. The other top 10 film franchises – Spider-Man, Harry Potter and the Hobbit/Lord of the Rings series – do not show signs of being assisted by government agencies.
Completing the 10, nor has Star Wars, though the new episode The Force Awakens has been made by seasoned producer of state-sponsored entertainment JJ Abrams. For the first time in the series the film’s credits lists a ‘military advisor’ – Paul Hornsby, a former British military intelligence officer and SBS soldier. Hornsby has also worked on Mission: Impossible – Rogue Nation, Jack Ryan: Shadow Recruit, Tarzan, Snow White, Hercules and The Chronicles of Narnia. Suitably, given his prominent work on fantasy films, doubts have been cast on whether Hornsby is who he claims to be.

If we consider the rest of the top 25 biggest film franchises then we can include Jurassic Park, X-Men, Mission: Impossible, Indiana Jones, Star Trek and the Terminator series to the list of those mega-franchises that have received DOD and/or other major government assistance in reaching such heights. Given that some franchises are counted multiple times (e.g. Iron Man, The Avengers and the Marvel Cinematic Universe are all separate entries in the top 25) a total of 14 of the top 25 film series have had documented government support on at least one movie."
.
Also (at least) one of the “Fast & Furious” series was made in collaboration with the FBI: https://www.spyculture.com/the-pentagon-and-the-worlds-biggest-film-franchises/
(https://archive.is/PCa9e)


From Top Gun and the Call of Duty video games, to GI Joe, America is chock-full of militarized media that glorify war and manufacture public consent for the Military Industrial Complex.

And most of those predictable Marvel superhero movies were of course also part of the military entertainment complex.
At least 6 Marvel movies were made with financial support from the US military — including Iron Man (2008) 1 and 2, Captain America (2011), Captain Marvel (2019), and Avengers (2012): https://inkstickmedia.com/marvels-military-industrial-complex/


There is also another strange Marvel connection to the US Department of Defense.

'Perlmutter, Moskowitz and Sherman – control Veterans Affairs'

Jun 4, 2019

Perlmutter, Moskowitz and Sherman – control Veterans Affairs

An informal troika - Ike Perlmutter, Bruce Moskowitz and Marc Sherman – control Veterans Affairs (VA) from Mar-a-Lago (President Trump’s club in Palm Beach, Florida).

The Mar-a-Lago troika is led by Ike Perlmutter, chairman of Marvel Entertainment; a longtime acquaintance of Donald Trump and close to Donald’s son-in-law Jared Kushner.
Trump and Perlmutter regularly talk on the phone and dine together at the Mar-a-Lago.

On 28 December 2016, president-elect Donald Trump asks Perlmutter at Mar-a-Lago for help putting a...

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• Replies: 6
• Forum: U.S. Political News

President Donald has appointed Sylvester Stallone, Mel Gibson and Jon Voight as 'Special Ambassadors' to 'troubled' Hollywood, to … Make America Retarded Again.

I’ve previously posted about Stallone and his bodyguard having sex with a 16-year-old girl and Stallone being accused by his half-sister of sexually abusing her for years: https://ronpaulforums.com/threads/paedophilia-in-hollywood.505159/post-6553218

I’ve also previously posted about Voight’s famous daughter, Angelina Jolie, being initiated into a secret society in a sick S&M ritual: https://ronpaulforums.com/threads/paedophilia-in-hollywood.505159/post-6519948

And Mel Gibson, like Stallone and Marvel heroes, is one of the elderly male celebrities that has taken steroids to look more muscular.
Gibson denied that he was using steroids, while in September 2013 he was spotted at the Beverly Hills Rejuvenation centre, a hormone replacement clinic.

Mel Gibson has had some what look like “roid rage” incidents: https://www.dailymail.co.uk/tvshowb...mone-replacement-clinic-second-time-week.html

 

[Firestarter]

President Donald has appointed Sylvester Stallone, Mel Gibson and Jon Voight as 'Special Ambassadors' to 'troubled' Hollywood, to … Make America Retarded Again.

I’ve previously posted about Stallone and his bodyguard having sex with a 16-year-old girl and Stallone being accused by his half-sister of sexually abusing her for years: https://ronpaulforums.com/threads/paedophilia-in-hollywood.505159/post-6553218

I’ve also previously posted about Voight’s famous daughter, Angelina Jolie, being initiated into a secret society in a sick S&M ritual

Jon Voight calls himself “a Chabadnik at heart”, while officially he “remains” a Catholic. Voight has been promoting the Jewish supremacy cult Chabad-Lubavitch by regularly appearing on the Chabad telethon with his friend Elliott Gould.
Voight also starred in the promotional TV series 'Friends of Chabad'.

Jon Voight was already encouraged in his acting career by his long-time Jewish friend, the vile paedophile Dustin Hoffman when he was rehearsing for “A View From the Bridge” in the mid-1960s, years before they starred together in “Midnight Cowboy”, for which Voights got an Oscar nomination: https://jewishjournal.com/culture/arts/120764/jon-voight-chabadnik-at-heart/


After Anna, more women complained about Dustin Hoffman’s predatory behaviour, the youngest just 15 years of age.
Cori Thomas, a former classmate of Hoffman’s daughter Karina, was only 16 in 1980 when Hoffman exposed himself to her in a hotel room in New York. He came out of the bathroom with a towel wrapped around him, which he dropped. It took 7 years before Thomas told this to friends.
Pauline told the Hollywood Reporter that she was just 15 and Hoffman 36, when he lured her to his New York home in 1973 and exposed himself.

Post in thread 'Paedophilia in Hollywood'

Dec 18, 2017

Dustin Hoffman, Bruno Langley

Last month, 2 more paedophile actors have been exposed: Dustin Hoffman and Bruno Langley.

On 1 November, Anna Graham Hunter described how in 1985, when she was a 17-year-old production assistant on the film version of “Death Of A Salesman” the “openly flirtatious” Dustin Hoffman repeatedly asked for foot massages, talked about sex to her and grabbed her ass.
Diary entry 31 January 1985:

when I was walking Dustin to his limo, he felt my ass four times. I hit him each time, hard, and told him he was a dirty...

• Firestarter