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Nov. 16, 2016 - Project Camelot
56:36
JAY WEIDNER: KUBRICK, SECRET SPACE AND WILLIAM TOMPKINS MATERIAL - EDITED FOR SOUND
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Thank you.
Thank you.
He's an old friend, someone I've known through the years, and I've been a follower of his work.
Excellent work, I must say.
And it's a real thrill to have him on the show today.
So, without further ado, what I'm going to do, we're going to be discussing...
Lots of things, actually.
The Secret Space Program, Jay's work with, well, on the Stanley Kubrick sort of legacy, I guess you might say, and I have some good questions for him in that regard and maybe try to get an update from him in regard to that because I know that he is aware, being an executive over at Gaia TV, Or GaimTV, however you say it.
And he can explain more about that.
But he has been dealing also with the recent release of the William Tompkins information.
And that changes the playing field quite substantially for some of this information.
And so I'm going to be asking him all about that.
And so...
It's just great to have you on the show here, Jay, and I'm going to put you on the screen for everyone to see.
So say hello and please give yourself something of an introduction.
I'm afraid I didn't have quite the thing prepared that I wanted to.
Other than to say what I already have.
So if you can talk a little bit about how you got into this sector, how you ended up over at Gaium TV would probably be of some interest to people.
And then also the whole Stanley Kubrick angle, you know, just so that for people who don't know who you are.
Yeah, so I've been at this for about 25 years now.
I started out at a radio show In Seattle called Mind Over Matters, which was basically doing this stuff, although I wasn't as mature then as I am now, and I'm much more knowledgeable now.
I'm a curious guy, I want the truth out, and really was tired and sick of the media constantly covering everything up, and so I decided if they're going to cover it up, I'm going to be a true journalist and start releasing this information, as much information as I could, and that radio show led to one thing after another, and Here I am 25 years later.
I've got about 24 documentaries under my belt.
A feature film called The Last Avatar.
And now I'm developing programming at Gaia, Gaia.com, which is doing a lot of things on the Secret Space Program, like you said, Bill Tompkins and all the rest.
And as far as the Kubrick stuff is concerned, I actually have Kubrick's Odyssey 3.
I'm in production, folks.
I truly am.
The script is written.
You are going to be blown away, especially by the ending.
So, I'm a busy guy, but I like life, and I have a feeling, it's only started in the last two months, that our side might actually be winning, even, now.
And I find that very gratifying.
I really do.
Okay.
Well, actually, I wouldn't be a bit surprised on that level because I have seen a lot of developments lately myself that are very pleasing.
And yet I am one of those people who still keeps my guard up, I guess you might say, and I'm not letting anyone off the hook here.
So with that in mind...
Yes, I think that's a good way to put it.
So what I want to do is, first of all, you have some interesting sort of Stanley Kubrick information that I heard on a video that I happened to be watching in which you were interviewed and you were talking about the 9-11 situation with regard to the buildings and how they were built in a certain way.
And I found that a fascinating little story.
And I think it's not really out there all that much.
So maybe we should start off there and then we're going to ramp up from there.
So if you could tell that story about Odyssey and I think that angle on the whole 9-11 is quite an interesting one.
Would you mind doing that?
Yeah, it'll be in Kubrick's Odyssey 3 in much more detail, but I'd be more than happy to explain it.
So the first thing you have to understand is that Kubrick and the filmmaker, comedian Mel Brooks knew each other.
They lived in the village in New York in the 50s.
They were both very poor.
Kubrick had not really had a hit film and wouldn't have a hit film until Doctor Strangelove, actually.
Or no, Spartacus.
And Mel Brooks wouldn't have a hit film until 1968 with Blazing Saddles.
But they were both poor, you know, desperate Jewish guys, and they wanted to make it in showbiz.
And so they did know each other.
What's interesting is that the World Trade Center was decided to build the World Trade Center in 1967.
The Port Authority in New York decided to build the World Trade Center, and they started the design work in late 1967.
1967 is also the year that Kubrick decided to change the name from the film he was making from Voyage Beyond the Stars to 2001 A Space Odyssey.
And at the same time in 1967, Mel Brooks was producing a TV show called Get Smart, in which a secret agent, a bumbling secret agent goes about his business.
Actually pretty funny show.
Maxwell Smart comes to the headquarters of, what's it called?
Order?
Chaos and Order?
Yeah, I think it's Order.
He comes to his place of work, and the chief tells him that there's a construction company that every time they build a building, the building collapses.
And they're building a new building right now, Max, for the space command.
And we're afraid that, you know, this building is going to come down and kill everybody in our space command.
And so we want you to go and infiltrate the construction site and find out what they're doing on these building sites.
So Max infiltrates the, he becomes a construction worker, and he infiltrates the construction site.
And interestingly enough, the building that they're building is called the Odyssey, and it's holding the space program.
And so Max finds out what they're doing.
He finds some blueprints.
And then he picks up his shoe phone and he calls the chief.
He says, Chief, I think I know what's going on.
And the chief says, well, what is it?
He says, they're putting the explosives in the building as they're building.
And I saw this episode.
I got kind of upset.
It was like, you know, five or six years after 9-11.
And I was talking to Freeman Fry, the researcher.
At a conference, and I told him about this.
I told him the story.
I just told you.
And he said, holy crap, Jay, I interviewed the second-in-command of the architects for the World Trade Center, and he said that they put the explosives in the building while they were building it.
And I said, come on.
He says, I've got it on videotape.
So there is a videotape, which I will show in Kubrick's Odyssey 3, Freeman Fry interviewing the second architect.
The head architect is long dead.
This is a guy who worked with the head architect, and he is saying that they put the explosives in the building while they're being built.
And that would make the biggest sense of anything that I've heard.
And so what I'm saying here is that Mel Brooks and, and please, if you're family and friends of Kubrick or Mel Brooks, don't take this the wrong way.
I don't mean it the wrong way.
I believe that Kubrick and Mel Brooks both took money early on from the New York mob.
I happen to know for sure that Kubrick did.
You're a young filmmaker and it's hard to get money so you have to go to the sources to get money.
Sometimes they're not exactly legal.
It doesn't mean Kubrick did anything.
It just means maybe some of the money was a bit tainted.
But they probably were rubbing shoulders with the New York mob a little bit and I believe that they got word That they were building the World Trade Center in 1967 for some kind of special event that was going to occur in 2001.
And that information then precipitated Stanley changing the name of his film to 2001 A Space Odyssey, and I can get into why he did that, and Mel Brooks writing this episode about putting explosions in a building called the Odyssey that's housing the space program.
So there's all these intertwined connections between these two incidents in 1967, especially when we began realizing that was the year the Port Authority decided to build the World Trade Center.
The upshot of this whole thing is, is that if you...
There was a photograph taken of the World Trade Center, I believe it was in like 75 or 76, and it's out on the internet.
And if you look at this photograph, the sun is directly behind the buildings.
So you can see right through the buildings, both buildings.
And the thing about this photograph that's so interesting is there's no floors in the World Trade Center.
There's some at the very top and there's some at the very bottom, but like floors 11 through 95 appear, or 91, appear to be no floors at all.
And I found that amazing.
I found this photograph amazing.
And it really does make me wonder if this whole thing wasn't just built as a kind of a symbolic ritual at some future point.
The fact that, you know, other researchers have pointed out that, you know, Yochum and Boaz are the two towers or pillars in Freemasonry, and that in every Freemason temple there's not only two towers or two columns, there's also a pentagon on the wall.
And we know that the Pentagon was built exactly 60 years.
The ground was struck on the Pentagon on September 11, 1941.
And it was hit on September 11, 2001, exactly 60 years later.
And I don't find it, I know all this sounds like gibberish, but I think there's some kind of underlying ritual going on here that we do not fully understand.
Well, coming from Camelot, you can appreciate that.
To me, if it looks like a conspiracy, smells like a conspiracy, it walks and talks like a conspiracy, it is a conspiracy, and we have conspiracies everywhere in our lives, every day of our lives, because a conspiracy is two or more people conspiring to do something nefarious.
So, shall we talk about bankers?
No.
But anyway, so this is great stuff, and thank you for that.
And I hope that, you know, people will spread the word on that, because I think it's important.
it's important to understand that this is an Illuminati conspiracy and that the dark magicians have been planning certain things and planning them for many, many years.
And we're talking about secret societies and high levels of the government, the military-industrial complex, and what in essence we call the secret space program, but also the secret government.
And within the secret space program, it's important to realize there are good guys and bad guys.
so to speak.
So, what I wanted to do from here was talk a little bit about the William Tompkins information.
And I'm assuming you know it well.
So, you know, bear with me here because a lot of the public don't know much about it.
They, you know, if they haven't actually subscribed to Gaim, for example.
And also...
I am at this time trying to get an interview with him and am in contact with somebody who is supposedly in contact on a daily basis, etc.
Okay, lovely.
That would be great.
I'm not sure why my contacts haven't been successful.
Let's just put it that way.
Although I have some sneaking suspicions.
It's been a little under the weather lately, so...
Right.
Well, I have somebody, a friend of mine, who called him and he sounded just fine.
So I think maybe it depends who you talk to and on what day.
But at any rate, so what I'm about here is to ask you, in light of this, what we have are, you know, our disclosures about how the Secret Space Program was literally built from the ground up.
And Tompkins was very instrumental, according to his own And that was selected by extraterrestrials, I believe is the title.
And he's talking about, you know, going to the moon, planning for the moon, building technology with the help of the Nordics, etc.
And Project Hamlet was told years ago that indeed we did go to the moon, but it was with help, quote unquote.
And that what Kubrick was all part of was covering up, first of all, what What they didn't want you to see on the moon.
And second of all, sort of a backup plan of what they would show the public.
So do you want to wrap that into your own sort of analysis of all the Kubrick stuff and give me your take on it?
Well, yeah.
Actually, that's to me the most fascinating part of Stanley Kubrick's au revoir is that he was secretly fascinated with The Nazis and he was secretly fascinated with Nazi technology and he was also hanging in the early 60s after he'd finished Dr.
Strangelove, late 63, 64, 65, he was hanging with Arthur C. Clarke who was helping German scientists, you know, coming from Germany to work for NASA and he was instrumental in supporting a lot of these scientists and And he literally would have,
you know, parties or gatherings at his apartment in London, and Wernher von Braun would be there, and all these bigwigs, you know, in the space program that were German.
And then there would be Stanley Kubrick, who's, you know, maybe 32, maybe 33 years old, married to a German, an upper-crust German woman, the Harlins, whose brother, Christiana His brother was Lenny Ruffenstahl's cameraman.
Lenny Ruffenstahl was Hitler's favorite filmmaker.
This thing is much deeper than we can ever imagine.
I think that Kubrick was completely aware of the German involvement in the flying saucer programs that were starting to come in white sands and also the alien contact that was going on at the time.
And so we have Tompkins who confirms that in the 50s he was working designing spaceships that were miles long.
And this is the reason why you're perfectly correct in your assertion that they picked Stanley as a backup.
But also they could never dare to ever show how they really got to.
What kind of equipment they had, how advanced they were, that the aliens were helping them.
None of this stuff could be announced.
So they just had Kubrick make it, and he faked it as best he could.
You know, we now realize it was really not a very good fakeout.
And I'll be proving that even more in Kubrick's Odyssey 3.
So it's just kind of nice to have my knowledge of Stanley Kubrick's history and see that Bill Tompkins Confirmed what I suspected but never quite knew.
Now I know that you know enough to know that when you're talking to someone like Bill Tompkins that the devil's in the details.
It's not the story that he's telling, which is a very interesting story so much, it's little tiny details he drops here and there that I have never told anyone I knew about.
From my own research in the Secret Space Program.
That's right.
You and me both.
And I was very excited by that, let me tell you.
Because people would not know what I know.
And when he uses certain names and certain information, I know that he knows whereof he speaks.
Which is why Dr.
Bob Wood, the investigator into the Majestic 12 documents, was willing to become his editor of his book.
Because he saw that the guy was telling the truth.
That's right.
And that's what got me involved with Bill.
I had several conversations on the phone with him before I interviewed him.
And I wasn't sure.
94 years old, maybe senile.
But he's not.
Trust me.
He's as sharp as a tack.
In fact, if I'm that sharp at 94, I think he's sharper than I am, actually.
Okay, now I, as an investigator, look online, and he thinks that Bill Tompkins is in his 80s.
So there's some discrepancy in terms of the story as to how old he really is.
Now, yeah, I think that's very interesting.
And my investigator is an unwanted publicity guy, I'm going to say.
He does a column on my website.
He's a well-known...
He's what you call a knock, a CIA knock, and they disowned him.
They burned him.
They gave him a burn notice, as you call it.
And he went on a job.
He came back to this country, and he no longer was a U.S. citizen because he had to give up his citizenship as part of his job, and suddenly they disowned him, et cetera, et cetera.
He has no health benefits.
He lives in a trailer on the streets.
But still a brilliant guy.
Kept his BlackBerry and types everything into his BlackBerry and does regular columns.
So he is a guy who won't quit.
Finances his area of expertise, not the secret space program.
But he's always into investigating things and he volunteered to investigate this stuff and For some reason, he thinks Tompkins is actually younger.
But, you know, that's kind of like a technicality.
It doesn't really matter.
If the guy says he's 94, he probably is 94.
He looks 94.
Yeah?
Yeah, he does.
All right.
Because Bob Wood is, what, 83?
Yeah, Bob Wood is 83, and he definitely looks a lot younger than Tompkins.
All right.
Fair enough.
Anything can happen in this world.
Yeah, and there even could be some extenuating circumstances there having to do with the Nordic contact that Bill Tompkins did have.
So given that contact and given what was going on with Kubrick, have you read William Tompkins' books?
Sorry to put you on the spot here.
No, I have.
I'm very familiar with this entire story.
Excellent.
I spent about 20 hours interviewing him.
Really?
Yep.
Oh, okay, because I was not aware of that.
Wonderful.
Then I'm actually talking to the resident expert, aside from Tompkins, right, on his stuff.
That's a long time to spend interviewing somebody.
Yeah.
So can you tell me, his Nordic contacts, do you think that Stanley was aware of the Nordic contacts, and do you think that Stanley might have had some Nordics in and around him From time to time.
Well, that's very interesting you say that because his wife looks like a Nordic.
If you look at her when she was young, she's astonishingly Nordic.
She's the woman at the end of Paths of Glory who sings the really sad song in French.
No, German.
To the French soldiers where they all start crying.
She's the beautiful girl that sings that song at the end of Paths of Glory.
And so you can check her out.
She's, I mean, the whole family, the Harlins are, all have this kind of elfin kind of look to them.
And I don't know, I've often wondered how odd it was that a Jewish guy from New York would become, you know, friends with these people that supported the Nazis and then marry into the family and I forget the guy's book.
The guy that co-wrote Eyes Wide Shut with Stanley, he wrote a book, Trash Job, after Stanley died, and he keeps saying in the book that he thinks, Frederick Raphael, he thinks that Stanley's an anti-Semite, which I thought was really interesting, because I never heard that before, and Raphael's Jewish, too.
But I think that Stanley did not side with the Germans But I do think he admired their technical expertise because he was kind of a techy geek guy.
And so I think that's what he was attracted to.
But I also think that he may...
I know he knew more.
And if you take Tompkins' work and you realize that it's probably true, then Kubrick may very well have had contacts ongoing.
Okay, there you go.
So that kind of changes the playing field.
At least, you know, I've actually had you on my show before.
It's been quite a long time.
And when we talked last time, there was a sense I got, and maybe this was a mistaken sense, but I sort of had the sense that, you know, Stanley Kubrick was, in a sense, coerced by circumstances to maybe not live up to his personal ideals.
And, you know, get money from them, do certain things he didn't believe in.
In fact, it's kind of interesting when you look at it that way.
And also what you just said to me about the fact that the more you look at it, the secret space footage, you know, the footage that Stanley Kubrick made public or whatever, the moon landings and all that, the way they displayed it and that was his work.
You're saying that mistakes are sort of obvious.
And I'm wondering, could this be payback in a secret way on his part to make it actually see-through, to make it so that if you were smart enough, you realized something is up?
What do you think?
I absolutely agree.
In fact, hang on one second.
I'll be right here.
There's a great book.
It's called Dark Moon, Apollo and the Whistleblowers by Mary Bennett and Percy, David Percy.
Great book, okay?
I highly recommend this book.
Excellent.
This book goes through the details, and the basic premise of the book is that somebody in the Apollo program was making mistakes that would reveal that it was all fake.
And that person, and I know Percy agrees with me now, that person was Stanley Kubrick.
There's no doubt about it.
He wanted people to know.
You know, in the movie, Wag the Dog, Dustin Hoffman plays a film director named Stanley.
And he's hired by Robert De Niro, who's a part of the CIA, to fake an event.
And Stanley fakes the event.
And then at the end of the film, he starts telling everyone that this is my greatest work.
I want everyone to know.
And then he dies.
And I swear that they know.
Just with that movie alone, that tells me that somebody in Hollywood knows about Stanley Kubrick.
And they put him in the movie.
And Dustin Hoffman looks a little bit like Stanley Kubrick.
And so, yeah, I know that.
I can give you several instances.
This will also be in Kubrick's Odyssey 3.
But one thing that Kubrick did that nobody else ever did Because you have to remember Stanley Kubrick was a technical guy before he became a filmmaker.
He was a photographer, he understood photography, he understood optics, he understood everything.
And all the other great filmmakers, Orson Welles, Bill Wilder, at this time anyway, came from theater.
Stanley never came from theater.
So in a sense, he was the only filmmaker at his time who Was a nuts and bolts guy.
And so you become kind of a natural for the moon landing, right?
Because you want a nuts and bolts guy, you also want someone else to direct people.
So having a Billy Wilder or Orson Welles is less likely a chance than a Stanley Kubrick.
And he was also ambitious.
But what he did, before a scene was filmed, Stanley would walk around the set taking Polaroid photographs.
And he did this to check lighting, to check setups, to make sure the continuity was the same as it had been before.
Well, in many reasons, it was actually quite a brilliant thing and no one was doing it.
Well, there's a, you can Google this.
Google, I think it's Apollo 14, Apollo 14 Polaroids on Landerleg.
And you will see a photograph of two Polaroids sitting on the lunar Landerleg, on the moon, I'm here to tell you that it's 250 degrees Fahrenheit on the surface of the moon when the sun is shining.
If you go take a Polaroid photograph and stick it in a 250 degree oven and watch what it does.
It curls up immediately.
So it's either not 250 degrees on the surface of the moon or they're on a set and those Polaroids are Stanley's way of saying It's me, folks.
It's me.
You know, I've heard about the Polaroids, and I think you're right.
I really do.
And I think it's very interesting.
You've heard the saying, keep your friends close, but your enemies closer.
Yeah.
It's just a thought that Stanley Kubrick might have been as smart as he looks, so to speak, and that he actually put himself in a certain position knowing That, you know, if you can't beat them, join them, but at the same time, you know, work from the inside.
And there are a lot of people in the Secret Space program and a lot of my contacts, sources, who kind of go by that philosophy, if you will.
And I think you can relate.
Yeah, I've got to remember, Hubert barely graduated high school.
Not because he was stupid, because he was bored.
And he would, you know, he would hire kids to fill out essays and do tests for him.
Again, not because he was stupid, but because he was bored.
And so at a certain point, you know, he probably got kind of bored doing all this stuff.
And I think that's when he started pulling little tricks here and there.
And, of course, the ultimate, the ultimate thing that he did was put all of the clues in the movie The Shining.
And that's the That's the real key, is what he did in that movie, which seemed to fly under everybody's nose until I discovered it a few years ago.
And I think Keurig wanted it that way.
I don't think he wanted his family to maybe even be gone by the time all this stuff was discovered.
And I think his daughter, Vivian Keurig, is running around doing a trash job on me and telling everyone that, no, my dad didn't do this.
But, hey, Vivian, you were like seven years old.
I'm sorry.
And we know from The Shining that he didn't want to tell anybody of his family.
That was the whole point that he's trying to tell you in The Shining.
He's trying to keep it all a secret from his wife and family.
Right.
Well, yeah, and I actually, you know, I'm curious, like, can you bring up some of the details along those lines within The Shining?
Because, you know, I think other people have watched your work, and they've seen the analysis and so on.
But I'm not sure how you're working his sort of revealing of What he knew in the secret space program and the fact that he was filming it.
Did The Shining get filmed after he worked for them?
Yeah, it came out in 1980, shot at 78 and 79.
But basically, what he was doing all through the 70s after Barry Lyndon, his secretary says, that he was searching for a vehicle that he wanted to make.
And he was having a very frustrating time.
And he would go and try to read four or five books a day and try to find the right book.
And then she'd hear the book thud against the wall as Kubrick threw it.
And he realized it was no good for him.
And when he opened up The Shining in 76, she said it was the longest period of quiet that she'd ever heard coming out of Stanley's office.
And he came out about six hours later and he'd read the whole book in six hours.
It's a big, thick book.
And immediately bought the rights from Stephen King and began working on it.
And I'm going to contend to you that Kubrick saw certain motifs within the structure of the story of The Shining that he realized that he could slip in the truth in between the lines.
And since it was a bestseller, everyone would be concentrating on the exterior plot that King wrote and not on the interior plot that Kubrick wrote.
And the coincidences and everything, it's just overwhelming.
You know, it's the only movie in history where the two lead characters are played by actors who have the same exact name as the characters they're playing, Jack and Danny.
The screenwriter The help to Kubrick was Diane Johnson.
Again, notice that her initials are D and J, Danny and Jack.
At one point, Danny is wheeling around on his little tricycle and he passes a six crates of seven up.
What does that mean?
Six crates of seven up.
Sitting on top of each other.
Well, there were seven launches of Apollo, but six only made it.
Right?
Because Apollo 13 didn't make it.
And then you start, when you get to the plot that is not in the book, that Kubrick added, and everything that Kubrick added to the movie The Shining that was not in the book is him telling you about Moonling.
And so when he's in there writing his book, And Shelley Duvall comes in and he stops writing and he says, you know, when you hear me writing, you don't come in here.
In fact, you never come in here again.
Right?
Right.
Then she sneaks in later in the film.
She sneaks in and she finds his manuscript and she starts reading it.
And it's the same sentence over and over and over.
All work and no play makes Jack a dull boy.
Right?
Of course, my interpretation is that the L's in all look exactly like the letter 1.
It's really saying A11, Apollo 11, work and no play, makes Jack, i.e.
Stanley, a dull boy.
Jack smokes Marlboro's, which is exactly the cigarette that Stanley smoked.
He even looks like Stanley Through The Shining, Jack Nicholson slowly deteriorates.
He quits shaving, he quits taking showers, he just looks like hell by the time the movie ends.
Well, if you look at Stanley Kubrick making 2001, which is, I contend, the cover job for him doing the Apollo, he starts out, he's clean-shaven, he looks young and healthy and happy.
But the time he gets to the end, he looks just like Jack Nicholson in the show.
That's awesome.
It is.
And he desperately wanted a story told.
I'll give you another really great analogy.
There's a movie that came out in the 70s called Being There with Peter Sellers.
Right.
Just happened to be in two Stanley Kubrick's movies.
And I'm going to blow it totally here because I can't remember the name of the director of Being There.
But anyway, at the time, he was a drug-addicted guy.
Good director, but drug-addicted.
And the rumor mill says at the time that Peter Sellers, because the shoot was falling apart, and it's based on a best-selling book.
Hal Ashby.
Yeah, Hal Ashby.
Thank you.
Really great director, but hey.
Can you still see me?
Yes.
Are you sure?
Yeah, we can see you.
All right, so Hal Ashby is making this movie, and he's having a very bad heroin addiction, and it looks like he's not going to be able to finish the movie.
The rumor is that Peter Sellers went to Stanley and asked him if he would take over the hill without taking credit.
I don't know if he did or not.
I do know that he helped several other directors during the years on their films, so it doesn't surprise me.
But what is surprising is a scene in the movie being there.
And that's about in the middle of the film, completely useless, throwaway scene.
I have no idea why it's even in the movie.
But Peter Sellers is walking down the street in Manhattan's wintertime, Christmas time, and there's snow and stuff.
And he's looking in shop windows, and the music on the soundtrack is the jazz musician Diodato's version of 2001 A Space Odyssey.
It's going.
And this is the background music to this weird scene in the movie.
And finally, Peter Silvis comes up to a Macy's window, and he looks through, and then right when the chorus of...
Right when that comes in, he looks down, and he's looking at a child's display of the Apollo 11 landing.
Right while the music is hitting the chords of 2001 Space Odyssey.
So my tendency is to believe that Kubrick probably did have something to do with making a beat.
Oh, wow.
Yeah, absolutely.
A great vignette.
Yes, excellent.
Okay, so given the revelations about, you know, reptilians infiltrating the space program, etc., what is your take in terms of Stanley Kubrick?
And look, there is...
I mean, I spend a fair amount of time right now in England right now.
And you know, well, Kubrick's ex-wife lives in England.
And, you know, obviously...
The Luminati are, like, very prevalent there.
Their symbolism is everywhere.
It's, you know, the Satanism, you know, it's all on display, really.
And in more ways than I can even talk about right now.
But...
What I'm wondering is, with that in mind, you know, there's a whole reptilian overlay.
Now, do you think that Stanley Kubrick was aware of this?
And do you think he did try to wrap it up, wrap it into anything?
And if so, when and where?
Well, he...
And you'll see clearly this in Kubrick's Odyssey 3.
He was definitely aware of And was going to definitely tell us.
I don't know if it was reptilians, but it was definitely he was going to reveal.
He was going to make two films and then retire.
He was going to make Eyes Wide Shut and then he was going to make AI or artificial intelligence.
And that was going to come out in 2001 and then he was going to retire.
Of course, he died in 1999.
But I have inside information from people who have read his script And I told it was vastly different than the movie that Steven Spielberg put out.
And that Kubrick's version of AI was going to expose an international pedophile ring and it was going to expose it good.
And furthermore, and this is the biggest news I'll have in Kubrick's Odyssey 3, Eyes Wide Shut is an homage to an earlier film by another very independent filmmaker that Kubrick admired that also tried to expose the international pedophile ring, but failed.
And that story is going to blow everybody's mind.
There's no doubt about it.
I'll even name The name of the Hollywood actor who was running the pedophile ring in the 30s.
Wow.
Okay.
So I assume you're keeping this under wraps until you do your movie.
Have me back on.
I'm more than happy to do that.
You just call me up and let me know any time.
So in light of this, okay, we're really talking about, for people listening, understanding that pedophilia is linked to Satanism.
And we're really talking about stealing energy.
When all's said and done and all this stuff is, you know, whatever.
And reptilians are doing this off of humans as well.
It's an interesting dynamic.
So, Kubrick was, I mean, Eyes Wide Shut would say he's totally aware of the sort of satanic side to life, I guess you might call it, if you want to, you know, kind of call it that.
And that he was aware of the dark magicians.
I'm sure he was aware of light magicians, you know, the good side.
So, I don't think that he probably operated on his own.
And there may be some people out there that You know helped him in his endeavors and maybe even kept him alive as long as they did at any rate.
So and what he was doing also was sort of you know poking the tiger I guess they call it or whatever you want to say like that.
So he was constantly raising these energies and in what you would need at that time would be some maybe white witches Some white practitioners to help you.
Have you ever heard from or been aware of his contacts in that way along those lines?
No, I haven't.
He was a very paranoid man and would drive around his St.
Albans estate in a golf cart with a shotgun on his lap.
And he was very afraid of something.
I know that.
I hope he did, but I don't think he did.
You know, there's another rumor, which I'm not going to put in Kubrick's Odyssey 3, because there's just no way that I can confirm this.
But there is one odd aspect about his death which might confirm this rumor.
When Kubrick died on March 9, 1999, he died exactly 666 days Before January 1st, 2001, the year of his most famous film.
And that kind of sends a very odd signal to me.
Because I happen to know quite a bit about the math and sacred geometry and numbers.
And 666 is not the number of the devil.
666 is a manifestation number.
And that tells me that maybe Kubrick actually knew some of this white magic.
And that makes me happy.
And I think that...
Okay, I'll tell you my rumor.
The rumor I heard was that after the Warner Brothers executives saw Eyes Wide Shut, they told Kubrick that they had to re-edit it, which they did.
And Curie said, well, you can't do that because the contract says you can't edit my stuff.
And they said, well, that's too bad because what you've done here is you've just gone way too far.
And we need to edit this.
And I don't even know what the originalized white show is like.
I know much stuff's been cut out of it, though.
Yes.
And I think the rumor says at that point, they told Stanley that they had another project that he had to work on.
And his films It was 9-11.
Oh, really?
Mm-hmm.
So, very good sources.
That he faked his death, and that he did 9-11.
That he faked his death?
Yep.
Faked his death, and then he was the director of 9-11.
And you think he's still alive?
He could be.
He could be.
Okay, very interesting.
Well, we get into this with Jim Morrison as well.
Exactly.
You know, because there are certain reasons when a person has the kind of contacts we're talking about.
You know, Jim Morrison, same thing.
You know, I just met someone, a well-known magician, a well-known musician who knew Jim Morrison.
And that person is sure that he didn't fake his death.
But, you know, this is the same thing over and over again.
How close are you to people you're close to?
And if somebody decides to fake their death, who's going to know about it?
And there is an interesting side to all of that having to do with...
If you listen to what Tompkins is really saying, he doesn't just talk about going to the moon and Mars.
He talks about building bases on other planets, other star systems.
And the reason this is of interest to me, besides the fact that I'm Project Camelot, is that I have a witness, Captain Mark Richards from the Secret Space Program, who's been in prison for 30 years, and I just went and visited him again.
Yeah, I listened to that.
It was very interesting.
And I told him about Tompkins' information.
Actually, this is going to be my fifth interview with him that I'm going to release.
I haven't released it yet, but I'm working very hard on it.
And the thing is that his information parallels Tompkins like almost exactly in every way.
And when I told Mark about William Tompkins that he didn't know about his recent disclosures, Mark even said that it was eerie hearing what I was telling him, how William Tompkins was discovered and brought to the fore in the secret space program and making the headway that he did, because it paralleled a lot of Mark's own trajectory, interestingly enough.
What we're talking about is going interplanetary and going other places.
And so this is a whole different ballgame.
And it does appear that Stanley Kubrick, of all people, certainly would know that.
If he was kibitzing with these people and he was very...
It seems that maybe in exchange for the work he did, he had to be read in.
That's the theory.
Yep.
So then one begins to wonder, you know, because there's a lot of emphasis on...
William Tompkins tells a very interesting story that you may remember about how Europeans were spurred on at a certain completely unknown Europeans all over Europe.
Suddenly, I forget what year it was, but something like the 1950s or the 1960s or something started building spaceships.
And they didn't even know why they were doing it.
And it was like a whole, it was like a mind control, you could call it a mind control or programming sort of thing, or putting, seeding some idea into these people across the land of Europe.
And the Nazis became aware of this as well, and I think they actually looked for talent among some of those people.
Or maybe, I don't know if it was the 50s or the 40s or even the 30s.
I don't know when it happened.
Do you know?
Yeah, it was in the 1950s.
Okay.
So I guess that's post-Nazis.
But nonetheless, what we're talking about is a very interesting dynamic, right?
Here we have...
What Tompkins says are basically Nordics who want us to help them fight their wars in space.
See, these human beings want to get us up to speed, start working with the Nazis to get them up to speed, bring the Nazis over to, you know, the U.S., get us up to speed, and suddenly we've got this whole full-blown secret space program in which all the humans are now up to speed, at least the ones, you know, not in the public domain, but in the...
Military industrial complex and and so then you're talking about actually one of the motivating factors with these Europeans was that they could go off planet to a better place a more friendly place.
What do you think?
Well Yeah, I think not only do I think that's true but I have other ancillary evidence of what you might call alien interference here in America.
I'm going to forget the guy's name.
He's a famous physicist.
His first name is Jack.
I can't remember his last name.
Anyway, he's probably...
Jack Sarfati?
Thank you.
You are good.
Jack Sarfati, when he was a young man, like 12 years old, From a robot voice that said it was in a spaceship orbiting Earth.
Remember, there was no space program.
And started giving high-level physics concepts to Jack.
And to which Jack says he still uses these concepts.
And this is a high-level physicist admitting that he got most of his high information from a robot voice on a phone call from a spaceship orbiting the Earth.
A lot of these stories are going on and I think that a very benevolent race realizes the dire straits that we're in as regards the Draco here on this planet and is too fearful to come face to face with the Draco so they're using subterfuge If
Tompkins is right, the reptilians are stealing people and abducting people and taking them out into space.
I have no reason to doubt this.
I've talked to many people who've had it happen to them, so I believe it.
So yeah, I think that this is really going on.
It's scary as hell.
Right, absolutely.
And it's just a great validation for Mark Richards, who's been really out there pioneering some of this information, I have to say.
And so that's really great for me to see.
And I've got some revelations that happened just recently.
In my discussions with him, that actually you said to start this, and I'm not going to keep you too long because I know you're working really hard over there, but I just want to say that he told me that things in this interview that he has, this is my fifth interview, you've got to understand, I go to prison, I sit in a You know, the prison.
We sit there with his wife, Joanne, and he's incredibly patient with me.
And I just pepper him with questions like nonstop because the guy is just unbelievable.
And this is the first time he really admitted some things about how he's being, you know, told what to tell me and basically really...
Like, he was more open this time, you know, in certain ways.
And he was even...
I'm like you.
You've got a film coming out.
Well, I've got a film coming out.
Mine's coming out a little sooner than yours, like maybe next week or maybe this week if I get really good at finishing stuff.
But basically, things that he hasn't been willing to sort of come out with.
There's something out there going on.
There is.
I want to address that real fast because my sources are telling me that there's going to be a limited disclosure coming before the end of this year and that you and me and all of us are putting so much pressure on the New World Order that they decided to do a limited hangout and tell us a little bit about what's going on.
And I'm here to tell you guys that we're not going to put up with a limited Disclosure.
100%.
And we're too smart, anyway, for you to do a limited hangout.
We're already on to your gains.
And if you give us a limited hangout, what I heard is they're going to say, oh, yeah, we have two secret space stations that are military out in orbit.
If that's limited hangout, I'm going to get pissed.
That's just bullshit.
And so I really think that we need to stick together, thank them for their limited hangout, But we want the whole enchilada.
Absolutely.
Well, a great sort of ending to a fascinating discussion.
Like I said, I'm going to let you go.
This has been great.
It's lovely to have you on the show.
Thanks so much, Jay.
I want people to read your books, to watch your movie, which I enjoyed and was great.
I hope you get more chances to do more work.
And I can't wait till you got the newest thing coming out.
When is that due out?
Hopefully I'll have it done before the end of the year.
All right.
Okay.
Incredible.
You know, you hold a full-time job and you make movies on the side.
That's pretty wild.
All right.
Okay.
Well, thank you so much.
And look, take care.
I think you're right on it.
And it's great to have you on the show.
Thanks.
Thank you so much.
All right.
Bye-bye.
Okay, so let me see if I can get this off the screen.
How do I do this?
Okay, so that actually, if anyone was listening, and I know we have a live audience here, so thank you for being here.
I know it was short notice.
It was kind of touch and go for a little bit there as to whether this show would happen or not at this time, but it did, and Anyone who wants to know what's really going on needs to watch this show.
So I hope it goes out virally.
I hope that you will share it everywhere.
And I'll be back tonight with Emily Windsor Craig.
And we're going to be talking about...
Uh, human society and deceit, I guess, is how she's sort of titling what she wants to talk about.
Um, we're going to be discussing human history, basically the, uh, the falsities in human history, et cetera.
So that's a 7 p.m.
Pacific time tonight.
And, um, Stay tuned to Project Camelot and please visit my site and subscribe to the channel if you haven't already.
And it helps support Camelot and any donations are welcome to keep our work going.
It is not easy staying alive these days.
Okay, so thanks a lot for listening and watching and have a great day.
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