OK. So, last time around I started creating blog posts and eventually ended up with my first book, Fire Sight. What appears to be happening this time is I’m going the other way now and taking apart my second book, Fire Power: Bending Reality with Movie Symbolism, to create blog posts.

You might have wondered what happened and where I’ve been the last few months. Well, there’s your answer. Working on this project involving movie symbolism.

I still have much to add to what is already written here as it was only recently I discovered that not only was Stanley Kubrick’s The Shining meant to be watched both forward and backwards simultaneously, but I believe all of his films since at least A Clockwork Orange and probably earlier.

The way I have tried to approach the analysis of Eyes Wide Shut that follows is similar to how people might use a “walk-through” for video games. I am going to start at the beginning and include screen captures every so often along with my thoughts. I’m guessing most people will have the movie playing in a separate window next to these notes on their computer or a nearby device that can be paused frequently.

Keep in mind, this wasn’t what I went into this movie looking for. This is just where the symbolism led me. And actually, I wish it wouldn’t have in a way because reaching this conclusion was upsetting to say the least.

So, here’s the first screen:



Anyways, there doesn’t appear to be much to see here. However, Kubrick was known to take great care with even the smallest of details. So, when the credits start rolling at 0:17 – there’s a good chance that number means something – and I think this is evident elsewhere especially with the 9/11 symbolism.

What exactly it means I’m not sure. Right now, the year is 2017. Is prophecy alive and well? Did Kubrick look into the future and see when there would be greater understanding of his work?

What I do know for sure is that for every movie except The Shining, the credit sequences are in black and white. In The Shining, he used turquoise for the credits which might hint at themes relating to Native American symbolism since the color turquoise is often associated with that culture.

The symbolism may also be multi-purpose. It’s no secret the Apollo program is brought up for discussion in The Shining as it appears very prominently on Danny’s sweater and in many other places. Was Kubrick suggesting history is repeating and the atrocities committed against natives on earth are now being committed against “natives” on the moon?

When I look at this still image it also makes me think of all the children in the United States who grew up with Apollo photographs hanging on their walls. I think this is Kubrick claiming credit for that work in an unconventional way. He’s also doing more here and telling us what really happened. If you’re familiar with The Shining novel by Stephen King, many people made a big deal about the color of the Volkswagen beetle being changed from red in the book to yellow in the film.

Kubrick was known to have trademarks or techniques he would use throughout all his works such as the famous Kubrick “glare” or “stare”, and his use of strong primary colors among others. And I believe the decision to use yellow for the car instead of red is a call back to something he already explained in 2001: A Space Odyssey. In that film, what the yellow symbolism suggests to me is China was the first in manned space exploration with the use of Soviet supplied rockets.

I will save in depth discussion of 2001: A Space Odyssey until later, but if you pay attention to the color of the spacesuits, the order in which they appear or how they are organized on screen and what happens to the astronauts in each suit, I think the real story becomes apparent.

In the above frame the red suit seems to take on the role of a “rocket” with booster in place behind (or multi-purpose imagery again representing yellow/red collaboration) and you have the yellow or Chinese helmet taking a ride on it – the yellow/Chinese also do not have a “rocket” or suit of their own, but the blue or United States/UK collaboration does.

Researching the Chinese Space Program on the internet, Wikipedia has this to say (although the cooperation reported may be downplayed, and I believe the dates claimed for most Space missions of all countries lag several years behind the actual events if reported at all):

“During the cordial Sino-Soviet relations of the 1950s, the USSR engaged in a cooperative technology transfer program with the People’s Republic of China under which they trained Chinese students and provided the fledgling program with a sample R-2 rocket”

You can also see the real order of moon exploration being symbolized recently in the pilot episode of Breaking Bad.

It’s also possible Kubrick used his prophetic powers to see me golfing in my snazzy turquoise Chuck Taylor’s around age 10 – I joke, sort of, because we’ll get deep into a rabbit hole later with Nike. And Converse is owned by Nike. Snoop Dogg also talks about Chuck Taylor’s in his song “Lodi Dodi” and I’ve referenced Snoop Dogg talking about invisibility before on Reddit. (Click the album to hear the song on Youtube):


“I got the Johnson’s Baby Powder and Cool Water cologne

Now I’m fresh, dressed, like a million bucks

Threw on my white socks, with my all-blue Chucks”

Here’s a little preview of the Nike Symbolism found in a freeze-frame near the end of the 2003 film The Cooler. Interesting how the swoosh is “reversed” like the mirror-writing and backwards/forwards superimposed film edits. And the font on the sign also has a very Oregon “Duckish” flavor to it.

I believe this might also relate to a Nostradamus Quatrain I’ve talked about previously in a blog post here:

“He will rise high over his wealth, more to the right,

He will remain seated on the square stone;

Towards the south, placed at the window,

The crooked staff in his hand his mouth sealed.”

“Crooked staff” = Nike logo. “Square stone” = the state of Oregon is square in shape and very rocky and mountainous. High over his wealth = Phil Knight is actually the richest man in sports. High over could have to do with UFO’s/aliens high up in the sky.

Forrest Gump also says in the beginning of that movie, “Mama always said there’s an awful lot you can tell a lot about a person by their shoes”. And I also just happened to be watching Breaking Bad this morning and found this screenshot of Walter White/Heisenberg’s shoes in the episode titled “Better Call Saul” (Season 2 Episode 8) to be pretty interesting:

On a more serious note about the turquoise credits in The Shining and also Forrest Gump. I have been told on good authority the proper way to watch Forrest Gump is with the idea that Forrest is actually the smart one and everyone else in the movie are the “slow” ones. (And I did in fact do this the last couple days and it does indeed seem to be the case among many other interesting things.

As far as the turquoise credits in The Shining, as you can see in the screen that I froze there is very pronounced mountain symbolism both in the front and the back of the frame.

Jay Weidner discusses the Front Screen Projection technique Kubrick used in 2001: A Space Odyssey that also appears to have been used in the Apollo footage. You can find more material from Jay in the documentary film Room 237 which I’ve mentioned before on my blog and also his own movie Kubrick’s Odyssey: Secrets Hidden in the Films.

One last note about title sequences and credits and colors before getting into the movie. I think the posters for Kubrick’s films also have something to reveal. Kubrick was known for using strong primary colors and if you look at the posters for his movies the dominant colors are black and white just like the colors he used for the credit sequences in all of his movies except for The Shining.

The only deviation appears to be the poster for Eyes Wide Shut which uses purple as the dominant color. The symbolism seems to be implying there’s something “extra special” or unique about EWS as there was with The Shining and its turquoise credits:

As mentioned on my blog, I believe Kubrick was put in “director’s jail” for what he included in The Shining and it was the reason his creative output dropped significantly with only 2 official releases after 1980 – Full Metal Jacket in 1987 and EWS in 1999 – while prior to 1980 he was averaging a new release every 2-4 years with several hoaxed Apollo movies interspersed as well.

The thought crossed my mind there may be “unofficial” releases as a ghost director similar to how some projects have ghost writers, but I have not had the time yet to fully look into the matter. So, The Shining seems to have landed him in jail, and Eyes Wide Shut seems to have led to his death.

Camera being “taken away” in FMJ symbolizing what happened to Kubrick after The Shining. More cameras and lunar imagery on the ground/walls of the superimposed edit. One camera is pointing up and the other pointing down – implying two sets of films – real ones from up in space and faked footage from studios on earth.

There’s also 3 soldiers against the wall or “stage” – the same number of astronauts in the hoaxed movies. I have strong suspicion Kubrick filmed both the real and fake moon footage and I think this is addressed in code later in the piano bar scene when Nick Nightingale says “Hey man, I just play the piano” – piano code for a camera and – “I’m not a part of the club. I’m just a filmmaker/artist”.

He also says it’s in a different place every time = different landing places on the moon. And he’s blindfolded. But the last time the blindfold wasn’t on very good, and he’s never seen such “women” – women is code for “alien”. He also tells Cruise, “You can’t get in you need a costume and mask” = you need a spacesuit.

They’ll be much more on this later and in other sections, but I think the gesture Nightingale makes with his hands is significant to reveal what he’s actually seen up there – it almost resembles the gestures you would make to suggest “tusks” (which I get into in Part 3) or even insect or spider-like creatures in addition to piano playing. And the superimposed edit reveals a diner scene where it seems more than coincidence the waitress could also be interpreted as “playing a piano” with her hands”. Diner, eating symbolism, food chains…

Imagery from Full Metal Jacket possibly intimating who the real astronauts were – Marines – and the “pirate space ships” used without public knowledge to further the reach of the “empire” in a military campaign against aliens. Real life Star Wars.

More pirate ships in Eyes Wide Shut much later at 2:12:00 minutes in. On superimposed edit the pool table light fixtures do seem to take on “flying saucer” characteristics hovering overhead or even the “tractor beam” that people report with abduction events. That may even be a “star map” laid out with the billiard balls.

Also, strong use of primary colors again with red, white, and blue. Possibly Nicole Kidman representing the Statue of Liberty as I will talk about shortly or multi-purpose use similar to the turquoise, and leaning against the wall because she’s a “mermaid” and has no legs (mermaid = code for alien. Another movie to go back and re-watch is Splash from 1984 with that idea in mind. Ron Howard also directed Apollo 13).

OK. I lied. There was one more thing about the credits before the actual movie starts. So, at time-stamp 0:23 I happen to feel the credits that get superimposed over Tom Cruise’s name resemble the shape of a Rorschach Inkblot test. Many might feel this is coincidence, but again, once you see how meticulously the rest of the elements are crafted I would lean towards intentional.

Especially considering the significance of the number 23 in occult lore – and the whole movie is kind of talking about occult matters or “hidden” things. (Jim Carey, who we’ll talk about again later, stars in a movie titled The Number 23 released in (2007).

A final closing note to this section though as I’m sure many people at this point might be ready to escort me to a padded chamber or fit me into a straight-jacket. If you didn’t read the introduction where I talked about films being technologically enhanced Tarot cards (the introduction is not currently on the website) the truth may even be stranger than what I’ve laid out here and you and I may be the “resistance” Nostradamus talks about.

Conversations with Nostradamus Vol 1 pg 218:

“He says the deck of Tarot is a very valuable tool. It is very good for developing your psychic self and your spiritual self. And it is good for communicating. In his day, many symbols from the Tarot were used for communicating secret messages in correspondence. He says the Tarot is very versatile, and it will be very important during the time of troubles. Those who have any familiarity at all with the Tarot will be very helpful, particularly working in underground movements, to help keep communication clear, because they will be relying on psychic communication as well as physical communication. The Tarot will play an important part in both.” – Screenshots from The Terminator (1984) and Fallout 4 (2015).

Part 2 Starts Here