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The end of the “wars on the cheap” for the United States. This analysis was written for the Unz Review. With the Neocon coup against Trump now completed (at least in its main objective, that is the neutralization of Trump, the subsidiary objective, impeaching Trump and removing him from office remains something for the future) the world has to deal, yet again, with a very dangerous situation: the Anglo. Zionist Empire is on a rapid decline, but the Neocons are back in power and they will do anything and everything in their power to stop and reverse this trend. It is also painfully obvious from their rhetoric, as well as from their past actions, that the only “solution” out the Neocons see is to trigger some kind of war. So the pressing question now becomes this: “whom will the Empire strike next?”. Will it be the DPRK or Syria? Iran or Venezuela? In the Ukraine, maybe?
"We to this day don't know why NORAD told us what they told us, It was just so far from the truth." -- 9/11 Commission Chair Thomas H. Kean "As of 21 days after the. Where possible we have provided video samples for this week's lectionary so you can hear how the song sounds, but you will need a full IDEAS subscription to download. ![]() Or do the Neocons seek war with Russia or China? Now, of course, if we assume that the Neocons are completely crazy, then everything is possible, from a US invasion of Lesotho to a simultaneous thermonuclear attack on Russia and China. I am in no way dismissing the insanity (and depravity) of the Neocons, but I also see no point in analyzing that which is clearly irrational, if only because all modern theories of deterrence always imply a “rational actor” and not a crazy lunatic on an suicidal amok run. For our purposes, therefore, we will assume that there is a semblance of rational thinking left in Washington DC and that even if the Neocons decide to launch some clearly crazy operation, somebody in the top levels of power will find the courage prevent this, just like Admiral Fallon did it with his “not on my watch!” which possibly prevented a US attack on Iran in 2. So, assuming a modicum of rationality is still involved, where could the Empire strike next? The ideal scenario. We all by now know exactly what the Empire likes to do: find some weak country, subvert it, accuse it of human right violations, slap economic sanctions, trigger riots and militarily intervene in “defense” of “democracy”, “freedom” and “self- determination” (or some other combo of equally pious and meaningless concepts). But that is only the ‘political recipe’. What I want to look into is what I call “the American way of war”, that is the way US commanders like to fight. During the Cold War, most of the US force planning, procurement, doctrine and training was focused on fighting a large conventional war against the Soviet Union and it was clearly understood that this conventional war could escalate into a nuclear war. Setting aside the nuclear aspect for a while (it is not relevant to our discussion), I would characterize the conventional dimension of such a war as “heavy”: centered on large formations (divisions, brigades), involving a lot of armor and artillery, this kind of warfare would involve immense logistical efforts on both sides and that, in turn, would involve deep- strikes on second echelon forces, supply dumps, strategic axes of communications (roads, railways, bridges, etc.) and a defense in depth in key sectors. The battlefield would be huge, hundreds of kilometers away on both sides of the FEBA (Forward Edge of Battle Area, or “front line”). On all levels, tactical, operational and strategic, defenses would be prepared in two, possibly three, echelons. To give you an idea of the distances involved, the Soviet 2nd strategic echelon in Europe was deployed as far back as the Ukraine! Ukraine inherited huge ammo dumps from the Soviet Union, and why there never was a shortage of weapons on any side for the conduct of the Ukrainian civil war). With the collapse of the Soviet Union’s Empire, this entire threat disappeared, well, if not overnight, then almost overnight. Of course, the Gulf War provided the US armed forces and NATO one last, but big, “goodbye party” (against an enemy which had absolutely no chance to prevail), but soon thereafter it became pretty clear to US strategists that the “heavy war” was over and that armored brigades might not be the most useful war- fighting tool in the US arsenal. This is when US strategists, mostly from Special Operation Forces, developed what I like to call “war on the cheap”. It works something like this: first, get the CIA to fund, arm and train some local insurgents (if needed, bring some from abroad); next embed US Special Forces with these local insurgents and provide them with FACs (forward air controllers, frontline soldiers specially trained to direct close support fixed and rotary wing aircraft to strike at enemy forces in direct contact with US and “friendlies”); finally, deploy enough aircraft in and around the combat zone (on aircraft carriers, in neighboring countries or even on seized local airstrips) to support combat operations day and night. The key notion is simple: provide the friendly insurgents with an overwhelming advantage in firepower. You have all seen this on You. Tube: US and “coalition” forces advance until they get into a firefight and, unless they rapidly prevail, they call in an airstrike which results into a huge BOOM!!! Americans and friendlies and the total disappearance of the attackers. Repeat that enough times, and you get an easy, cheap and rapid victory over a completely outgunned enemy. This basic approach can be enhanced by various “supplements” such as providing the insurgents with better gear (antitank weapons, night vision, communications, etc.) and bringing in some US or allied forces, including mercenaries, to take care of the really tough targets. While many in the US armed forces were deeply skeptical of this new approach, the dominance of the Special Forces types and the success, at least temporary, of this “war on the cheap” in Afghanistan made it immensely popular with US politicians and propagandists. Best of all, this type of warfare resulted in very few casualties for the Americans and even provided them with a high degree of “plausible deniability” should something go wrong. Of course, the various three letter spooks loved it too. What so many failed to realize in the early euphoria about US invincibility was that this “war on the cheap” made three very risky assumptions: First and foremost, it relied on a deeply demoralized enemy who felt that, like in the series “Star Trek”, resistance to the Borg (aka the USA) was futile because even if the actual US forces deployed were limited in size and capabilities, the Americans would, no doubt, bring in more and more forces if needed, until the opposition was crushed. Second, this type of warfare assumes that the US can get air superiority over the entire battlefield. Americans do not like to provide close air support when they can be shot down by enemy aircraft or missiles. Third, this type of warfare requires the presence of local insurgents who can be used as “boots on the ground” to actually occupy and control territory. We will now see that all three of these assumptions are not necessarily true or, to put it even better, that the Anglo. Zionists have run out of countries in which these assumptions still apply. Let’s take them one by one. Hezbollah, Lebanon 2. Okay, this war did not officially involve the USA, true, but it did involve Israel, which is more or less the same, at least for our purposes. While it is true that superior Hezbollah tactics and preparation of the battlefield did play an important role, and while it is undeniable that Russian anti- tank weapons gave Hezbollah the capability to attack and destroy even the most advanced Israeli tanks, the single most important development of this war was that for the first time in the Middle- East a rather small and comparatively weak Arab force showed no fear whatsoever when confronted with the putatively “invincible Tshahal”. The British reporter Robert Fisk was the first person to detect this immense change and its tremendous implications: (emphasis added)You heard Sharon, before he suffered his massive stroke, he used this phrase in the Knesset, you know, “The Palestinians must feel pain.” This was during one of the intifadas. The idea that if you continue to beat and beat and beat the Arabs, they will submit, that eventually they’ll go on their knees and give you what you want. And this is totally, utterly self- delusional, because it doesn’t apply anymore. It used to apply 3. I first arrived in the Middle East. Standing on House of Cards- Jonathan Cahn. By Greg Hunter’s USAWatchdog. Early Sunday Release) Rabbi Jonathan Cahn, a Messianic Jew, is out with a third best- seller in a row called “The Book of Mysteries.” In the “Harbinger,” he has said things like the attack on America on 9/1. Now, Cahn is out with some new warnings. On the economy, Cahn says, “We are still on a house of cards, standing on a house of cards. There’s debt, and all the propping up, and actually, since the Shemitah of 2. It’s been paralyzed. The growth has been paralyzed since 2. We are in the most dangerous months of the stock markets. We are right now . Shemitah, which is the Jubilee period. It doesn’t have to happen, but it means the same dynamics (market crash) can happen as well into this period. There is a principle in the Bible that is linked to this . God, it’s going to be lending to many nations and not borrowing. That is a sign of God’s favor. America has been the greatest creditor nation in history, but that changed as America has been falling away from God. This goes with the harbingers, and that has not stopped either. As America continues to rapidly accelerate away from God, at the same time, America turned from the greatest creditor nation to the greatest debtor nation.”On Donald Trump running for President, Cahn says, “On one hand, we have a party and candidate who has said ‘deep seated religious beliefs must be changed.’ Why? So, abortion can expand. That is from Hillary Clinton. The Democratic platform . Biblical platform this year. The Republican platform has been the strongest for these things (pro- Bible). Whether for Israel, or for life, or for religious liberty, so, I don’t see any choice on but one party. I don’t see any hope on the Democratic side, and do see there can be hope on the Republican side. Donald Trump is a fascinating situation here. You cannot say he is living in any way shape or form an exemplary religious life; however, he has pledged on issues on the Supreme Court which will affect us for the next 3. We have to be careful about Trump because he has made statements very much like in Isaiah 9: 1. Things like ‘America is going to be greater than ever,’ and that’s fine, but America can only be great by returning to the God who made America great in the first place. So, there’s hope there . He’s surrounded by believers, and so there is hope. There is also a warning. You cannot become great without returning to God. The hope for America is return and revival.”On Cahn’s latest best- seller “The Book of Mysteries,” Cahn says, “The Book of Mysteries is literally opening up hundreds of the mysteries of God. Everything from the mysteries of the end times, mysteries behind history, mysteries of Heaven and mysteries of finding your own destiny, as well. The reason I was led to do this book is I believe we are going to have very challenging times ahead, especially for believers, very challenging times. God wants people to be strong. People say how do I stand? How do I flourish? You can flourish in the days ahead, and you can actually prosper in the days ahead, and I am not just talking about financially. I am talking about in the most important ways. So, I wrote “The Book of Mysteries” to give strength to everybody. It’s not only for believers, but it is for non- believers because people are reading it, and they are coming to the Lord.”On the Middle, East Cahn says, “Every single nation that has blessed Israel has been blessed, and every single nation that has cursed Israel has been cursed. It’s not just that, but whatever you do to Jewish people gets done back to you. We are at a dangerous point, we have been blessed, but as we turn from Israel, watch out because it’s a perfect storm. There is no peace for the Middle East. It is always a tinder box. Do I see peace? Absolutely not, until as with America, the reconciliation comes with God. If you don’t have peace with God, this is how you get it. This is the whole point of the book.”Join Greg Hunter as he goes One- on- One with Rabbi Jonathan Cahn, author of the best- seller “The Book of Mysteries.”(There is much more in the video interview.)After the Interview: Jonathan Cahn told me he was surprised that his latest book “The Book of Mysteries” became a best seller in less than a week. There is free information on his website Hopeofthe. World. org. If you would like to buy a copy of “The Book of Mysteries” click here. You can also can also follow Jonathan Cahn on his official Face. Book page. Finally if you want to see the unveiling of Arch to Baal in NYC (which Rabbi Cahn says is a major harbinger), click here.
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![]() ![]() Astroshed FITS Software for Windows and Adobe Photoshop. Years of Pro. Design. Tools: Our Best Adobe Articles, Books and Tips. This month we’re celebrating our 8th anniversary here at PDT, and proud of it! So it seems the perfect time to put together a comprehensive review of the best and most- shared articles and resources published here since our site launched in 2. These are the top posts that consistently have the highest readership on our site, month after month, covering all major Adobe software products… They’re broken out by topic below in case you’ve missed any, or are new here – so bookmark, share, and enjoy! Free Adobe Books. Creative Cloud (CC)Creative Suite. Adobe Photoshop. Adobe Lightroom. Adobe Acrobat. Photoshop/Premiere Elements. Students & Teachers. Direct Download Links. General How- to’s. Everything Else. What’s missing? Anything that you’d like us to cover? Any burning questions you’ve got on Adobe applications? Just let us know in the comments below and we’ll get you answers…Its been a great eight years so far, and were looking forward to an even better (and bigger) next eight years! Luke Plunkett. Luke Plunkett is a Contributing Editor based in Canberra, Australia. He has written a book on cosplay, designed a game about airplanes, and also runs. Prenesi 3 is the all-in-one tweak for official Facebook app which adds the most wanted features to the Facebook app. Features: - Video Downloader: Save Facebook. Have Album Starter Ed. 3.2, registration time has expired. Not techy so didn’t know about that. When I try to save pix off my camera, they seem to automatically go.![]() Top Old Rock and Pop Songs With Chords - Titles List 3000 older rock and pop songs with chords for guitar. The Home of the 4 Hour Investor Grade Business Plan. Faster investor quality documentation using HyperQuestions. Print and download choral sheet music for Pure Imagination from Willy Wonka & the Chocolate Factory arranged for 2-Part Choir + Piano in D Major (transposable). SKU.Bill Nye the Science Guy, whose eponymous show wrapped up two decades ago in 1997 but been airing in syndication ever since, has some unfinished business with Disney. WKEZ- FMLatest Blog Posts. J ean- Lou Bertin, ex- SIS, Radio Contact and Mint, precursor of visual radio and current director of DH Radio. The radio has to offer image as added value, at a time when the technology allows to receive on the same medium radio, TV, telephone, emails, games etc. There is of course no question for her to “make the TV”. The visual must constitute a “plus” at the disposal of the listener who wishes, without blurring the listening or is indispensable. In your opinion, will the radio of tomorrow be able to do without images? No. We are at the moment of a great (r) evolution, a bit like when the first free radios appeared. We know that in the future, the radio will be necessarily entirely digital (we will have only the supports of the tablet type, smartphone, PC and others). We also know that radio has always been able to adapt to its environment. As the smartphone is a multi- media phone, TV, newspaper, e- mail, games and more, it is essential to know as precisely as possible how people consume radio, In order to be able to offer the most appropriate added value given the latest technical developments. And, in my opinion, the image can precisely constitute this added value for radio. How can radio remain a specific medium if all the media begin to make sound, image and text? The limit not to be crossed is precisely to prevent the radio from making television. The image should not take precedence over the sound. If that is the case, it is no longer the case. No question, of course, that the image is essential to the understanding of what is happening, nor does it take up so much space that we no longer listen to what is being said. The image must be a “plus”. Because if one loses the sense of the radio itself, the radio medium is dead. So no, the radio should not be on TV. The new media allow us: the radio has to come up with the image for the one who wants it at a given moment. At this point, a person is listening. He hears something that challenges him and about what he would like to have visual content. He then becomes a spectator,What is the specificity of radio? ![]() It is the only media that allows you to do something else while listening to it. There is also a very important social dimension. Radio is talking about people. She talks to people. She gives them the floor. She makes them play. Give them gifts. That’s what the radio is all about. In addition, the image can bring additional information such as maps, videos, Photo Visual, dress- up or in parallel. Not “in place of”. The consumer must not make a choice. One must be the complement of the other. Should the radio now make more than oral content? The basis of the work actually continues to be to make content, but not just sound. What will happen to the radios that will not? It all depends on their content. Those that can claim to have an atypical and completely unique content will come out. When did we see the image coming to the radio for the first time? In 2. 00. 8, I built a whole project for Mint: Mint Vision. I had designed it because Mint had not gotten a network. We had to find another means of dissemination: it was the web at the time. The models were made for a project of one hour a day. Unfortunately, the crisis went through there and we gave up. Then there was Contact Vision and then all the others. We are a lot in the clip, it’s nice, but there is still much to invent. At DH Radio, we are going to start a new project that goes in this direction next spring. I work with two companies on a radio system project that pilots dressing. Is not there also an economic interest? I imagine that the image brings a “bonus” in terms of advertising revenue? Not only that, but clicks give a lot of super- interesting information at the marketing level. We know who stayed for how long to watch or listen to what: a mine. NOYvan Hanon, master of practical training at the Son- Radio department of Ihecs. Radio is the medium of the imagination: a voice creates a story. Stick to him pictures and the charm is broken! The poor quality cameras installed in the studios upset the speaker as the receiver of the message. Without informative value, they nevertheless draw on them the concentration of a listener turned viewer against his will. And it is the message that is deforced. What are the advantages of radio? Its strong point is the imagination it creates around a presenter, an animator, a journalist. Seeing it removes the charm and identity of the radio. ![]() How do the cameras installed in the studios change the way they do and listen to the radio? A moderator or a journalist does not say the same thing when he is only in front of a microphone or when a camera is added. The reception of the message is also different: see how the person who expresses himself is dressed, what he looks like, if he is tired, has stage fright, influence how to listen to his voice and hear his words. Moreover, radio has this specificity to enable the listener not to have to concentrate solely on it. He has the leisure to do something else at the same time, which the image does not allow. This attracts and monopolizes all the attention even though it brings nothing from an informative point of view. The mixture of genres hurts the media. We are already sufficiently immersed in a culture of the image that to add to them where they have no surplus value. Nor do listeners need them to listen, even if the television set- top boxes via which they can access the radio make them believe. It should also be noted that equipping the studios is a significant additional cost. Is this a way to increase the force of attraction and interaction? I do not think the auditors are callers. They remember the name of the presenter, the timbre of his voice, his talk, his journalistic quality or animation, but not his face … I understand the effect of attraction that the image can have: a Shared mood on social networks, like the chroniclers of Matin Première, has a considerable impact. People prefer to click on an image than on a Soundcloud player … I would not go so far as to say that these cameras constitute a marketing or star- making argument for presenters. This choice is more a matter of fear. Which ? That of the strength of the radio. We imagine that the media consumer will no longer listen to the radio if there is no picture. At the birth of television, many predict the death of radio. We are here in the same situation: without the video, the radio will go out with a slow fire? Effectively. Yet the radio is absolutely not at risk. This obviously does not exclude consideration of other numerical improvements, such as increased radio. There is progress to be made at this level and we will have to answer this question: what is added to a sound information? Not a camera, of poor quality, automated, in which we see (and still) the presenters in front of a microphone. In any event, I reject the assertion that the future of radio must necessarily be through video. I may be a resistant. But I am far from being the only one … This opinion is widely shared in the profession and among the journalists who practice in radio. Glossy lips and a super originales lenses are the core of this Californian DJ . One day in Tokyo on stage in front of the alternative duo The Dolls and another enjoying Coachella with the very Katy Perry. Raise your hand Let the Glamourette would not want a life like that ! Despite his hectic life – truly, Mia is in everything – the it girl is not satisfied and presents a collection of hand makeup MAC Cosmetics, inspired by the girls who dance to their own music. We talked with them to find out their best tips to achieve that beauty chic effortless that characterizes it . ABOUT YOUR BEAUTY STYLE …MIA: My Life as a DJ has a great influence on my style , also was the basis for creating the collection. I am constantly traveling and living based on a suitcase , I have to change at the airport and run to a presentation or soundcheck. So what more makeup look is easy to wear, you do not need a Ph. D to choose colors and look beautiful. I would describe me as someone who prefers a much more natural look but with a touch of color. Never use smokey eyes or fake eyelashes, opto color on the lips and keep my bare skin. In trend: Make- up to the nude! YOUR HOT SECRET OF BEAUTY …M: The red lipstick would be a key product, I remember my grandmother did not spend a single day without using this color on her lips. Out- of- This- World Facts About '2. A Space Odyssey'Stanley Kubrick’s 2. A Space Odyssey (1. The epic sci- fi story of extraterrestrials and higher planes of existence bridged the gap between studio pictures and art films, all because of the inimitable genius of its writer/director. Here are 1. 2 facts about the sci- fi classic. THE BOOK AND THE MOVIE WERE DEVELOPED CONCURRENTLY. A Space Odyssey sprang from a February 1. Stanley Kubrick and Roger Caras, the publicist for Kubrick’s previous film Dr. Strangelove. Kubrick told Caras that for his next movie he wanted to do a movie about extraterrestrial life, which prompted Caras to suggest he get in touch with his friend, collaborator, and science fiction author, Arthur C. Clarke. Caras introduced the two, with Clarke sending a telegram saying, “Frightfully interested in working with enfant terrible,” and soon the two were working on expanding Clarke’s short story “The Sentinel” into a movie treatment. Per Kubrick, “The novel came about after we did a 1. This initial treatment was subsequently changed in the screenplay, and the screenplay in turn was altered during the making of the film. But Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel.”2. IT HAD A FEW ALTERNATE TITLES. During development on the movie, Kubrick and Clarke humorously referred to their lofty project as “How the Solar System Was Won,” a play on the title of the 1. How the West Was Won. It was never a serious title option, though in author Jerome Agel's 1. The Making of Kubrick's 2. Clarke admitted, "[It] was our private title. It was exactly what we tried to show."The pair’s first working title for the movie was Project: Space, which is listed in their first outline. Other temporary titles included Across the Sea of Stars, Universe, Tunnel to the Stars, Earth Escape, Jupiter Window, Farewell to Earth, and Planetfall. The official MGM press release for the movie from February 1. Journey Beyond the Stars, though two months later Kubrick selected. A Space Odyssey for the final title, as an homage to Homer’s Odyssey. Stanley selected 2. A Space Odyssey,” Clarke said in his book, The Lost Worlds of 2. As far as I can recall, it was entirely his idea.”3. ONE OF STANLEY KUBRICK’S BIGGEST INSPIRATIONS WAS A 1. ANIMATED SHORT DOCUMENTARY FROM CANADA. It’s no surprise that Kubrick selected “Universe” as a possible title for his movie, as it was also the name of one of the biggest inspirations he had while making it. Universe is a 2. 8- minute, Oscar- nominated animated documentary from 1. National Film Board of Canada that was meant to be an awe- inspiring look at what it would be like to sail through space beyond the Milky Way. Kubrick was so taken by the short film that he hired Douglas Rain, the narrator of Universe, to be the voice of the evil computer HAL 9. A Space Odyssey, and also hired Universe’s optical effects artist Wally Gentleman to do special effects for the movie. KUBRICK HAD A LITTLE HELP FROM CARL SAGAN. Kubrick began principal production on the movie without knowing how to convey many of the film’s key scenes, most notably the ending where Dr. Dave Bowman makes contact with extraterrestrial life. One of the biggest problems Kubrick had while developing the movie was how to depict these extraterrestrial life forms in a way that suited his abstract ideas, but could also be covered by the film’s budget. So he asked noted astrophysicist/author Carl Sagan for help. In his book The Cosmic Connection: An Extraterrestrial Perspective, Sagan explained, “I argued that the number of individually unlikely events in the evolutionary history of Man was so great that nothing like us is ever likely to evolve again anywhere in the universe. I suggested that any explicit representation of an advanced extraterrestrial being was bound to have at least an element of falseness about it, and that the best solution would be to suggest, rather than explicitly to display, the extraterrestrials.”Though Kubrick would experiment with literal ways to show aliens in 2. Sagan’s insinuation of extraterrestrials. KUBRICK TRIED TO TAKE OUT AN ALIEN INSURANCE POLICY. Kubrick was paranoid that he’d put all this work into getting as close to reality with the concept of extraterrestrial life as he possibly could and then aliens would be discovered just before his expensive sci- fi movie was finished. In order to literally insure his movie wouldn’t become obsolete, Kubrick attempted to take out an insurance policy at Lloyd’s of London to protect himself against losses in case extraterrestrial intelligence was discovered before the film’s release. Lloyd’s declined the policy because they figured the probability of discovering extraterrestrial intelligence in such a short period in the mid- 1. THE FILM WAS SHOT ALMOST ENTIRELY INSIDE. The film was shot almost entirely at England’s Shepperton Studios and MGM- British Studios. Massive sets were built for the film’s locations, including a 3. Ferris wheel set meant to portray the Discovery’s gravity, built by a British aircraft company called the Vickers- Armstrong Engineering Group. The film’s iconic monolith was actually comprised of wood and a special graphite mix black paint in order to get an extremely smooth sheen on the outside surface. The only on- location exterior shot of the movie was of the Moon- Watcher ape smashing the animal bones with his own bone weapon, which was shot on an elevated platform near the studio so that Kubrick could get a low angle of actor Dan Richter, who played the Moon- Watcher, tossing the bone into the air. The shot, which would be the first part of the film’s infamous bone- to- spaceship match cut, was thought up during the shoot after Kubrick tossed a broomstick to a crew member before directing a shot. 7. ALL THE APES WERE MIMES. One of the last sequences Kubrick shot was the opening “Dawn of Man” sequence, mostly because the director had difficulty in figuring out who could portray the apes in the scenes. He auditioned actors, dancers, and even comedians to potentially perform the parts, and initially hired Richter (who was working as a professional mime in London at the time) to simply choreograph the sequence. Instead, Kubrick hired Richter to be the main ape and tasked him with recruiting 2. To help with the reality of the sequence, Richter explained, “I spent a lot of time at the zoo, in front of the chimp cage and the gorillas. I got all the footage of Jane Goodall's work and watched it over and over again. I met with anthropologists. My goal was to take this group of 2. KUBRICK GOT SOME HELP FROM NASA PROS. Even though the story he was telling was science fiction, Kubrick wanted a lot of collaboration in basing the film in science fact. To work as technical consultants on the film, Kubrick hired German- born designer Harry Lange, who had previously worked at NASA as the head of its “future projects” section, and Frederick Ordway, NASA’s former chief of space information systems, who had helped develop the Saturn V rocket. Of his collaboration with the director, Ordway said, “Kubrick wanted to make certain that every special- effects shot would be completely convincing, yielding a realism never before accomplished in motion pictures.”9. IT FEATURED SOME TRULY GROUNDBREAKING SPECIAL EFFECTS. Entire books have been written about the elaborate special effects used to create the futuristic world of 2. Such effects were painstakingly created because the movie existed in an era before you could just fire up a computer and make whatever is in your noggin come to life. The most famous special effect in the movie is perhaps the end “Star Gate” sequence, which was created by effects artist Douglas Trumbull using a technique called slit scan photography. To get the trippy colors to portray Bowman traveling to a higher existence, Trumbull used nothing but two sheets of glass and a camera on a custom dolly track. He placed a static foreground sheet of glass that’s entirely blacked out, save for a small slit in the center, in front of the camera. Another static sheet in back of the blacked out sheet featured a piece of glass with interchangeable paintings, drawings, and geometric patterns on it. He then pushed the camera backward and forward to, as Trumbull explained, “produce two seemingly infinite planes of exposure,” that were edited together to create the sequence. 1. KUBRICK SCRAPPED THE ENTIRE ORIGINAL SCORE. Kubrick called 2. |