Son of Stan(ley)

Wild speculation, just for fun

    I started the blog being in part inspired by the work of Jay Weidner who I was lucky enough to correspond with for a brief period. The impetus to build on his work was inspired by a memory of something Weidner said in a podcast interview. It dealt with the concepts from Eyes Wide Shut, that the character, Ziegler's name meant bricklayer or Mason in Yiddish and that the mansion used for the exterior of Somerton was the Rothschild mansion, Mentmore Towers. 'The Usual Suspects' Moment If you have ever seen the movie 'The Usual Suspects' (and if you haven't, what's wrong with you?), you'll recall a scene at the end (spoiler alert) where Agent Kujan, portrayed by Chazz Palminteri, has the realization that the story that he was told by Verbal Kint (portrayed by Kevin Spacey) is a complete fabrication.

                                                                                                             

(Courtesy Google images)

    Kujan begins to piece together random elements of Verbal's story and associate them with various items in the room where the interrogation takes place. Essentially, Verbal spins a narrative based on different elements of his environment including creating a character named from the manufacturer of  Kujan's coffee cup. Agent Kujan realizes all this in a beautifully edited scene of frenzied illumination.

   I take this detour to use another film to give the analogy of what I experienced as I listened to the podcast. It resonated with me for some time. Then it dawned on me. I had read a similar description, unrelated to EWS, years ago. "The Children's leader was further said to be a Mason, rank unknown..." "The abandoned church (site of rituals) in central Westchester... was immediately identified by Captain Gerry Buckholt... as the nearby 'burned out' mansion, which turned out to be the former Warburg-Rothschild estate." 

  These quotes are from pages 411 and 416 of the hardback edition of Ultimate Evil by Maury Terry. Many are now familiar with Terry's work after the Netflix documentary Sons of Sam. It did a very competent job of giving a high level overview of Maury's research revealing that the Son of Sam murders were perpetrated by others beside David Berkowitz. 

  Basically, Terry uncovered evidence of a Satanic cult operating in NYC and Westchester county which was headquartered in a mansion on Long Island, possibly run by a prominent doctor (Harford? Recall Kubrick's father was a homeopathic doctor). The cult sponsored the Son of Sam murders and even created snuff film videos from some of the murder scenes.

  I started to find synchronicities between Weidner's work, Kubrick's films and Maury Terry's work on the Son of Sam killings. Eventually I came to believe Kubrick may have had knowledge or even been part of a cult or 'the' cult on Long Island. 

  I recommend watching Weidner's first Kubrick's Odyssey film for context. The crux of Weidner's research is that The Shining is a movie that reveals Kubrick's complicity in faking the Apollo 11 film and photos. Note that Weidner never says that landings didn't take place, but that the film footage and photos we have are faked. The documentary Room 237 includes and interview with Weidner as well as a nice summation of his theory.

  The Shining or EWS have one multiple messages and meanings. I do believe in that matrix, they contain Kubrick's revelation of involvement in a Long Island cult that eventually caused him to escape the labyrinth and move to the UK.

  The opening sequence of The Shining shows Jack Torrance, having packed his family into a yellow VW, driving to the Overlook. Stephen King in hos novel has Torrance driving a red VW. In Kubrick's Odyssey 1,Weidner attributes the change to Kubrick asserting his dominance over King and letting him know that it is he, Stanley, telling the story. Possibly, probably.

  Maury Terry, in his research to the Son of Sam case, found out that there were witness reports of a yellow VW in connection to several of the Son of Sam shootings. Particularly the Donna Lauria and Stacy Moskowitz murders.

  Lawrence Klausner wrote a book, Son of Sam , subtitled as being 'Based on the Authorized Transcription of the Tapes, Official Documents, and Diaries of David Berkowitz".

I would like to quote an excerpt from page 227, emphasis mine;

OFFICER LOU MARCHINI was on patrol in the Bronx, operating out of the

43rd Precinct. He completed his tour at midnight and left the station house at

12:30 A.M. Going down the stairs in front of the building, he commented to

one of the sergeants, “Looks like a good night for a shooting. this Son of Sam

hasn’t struck in some time.” It was a morbid joke. In the back of his mind he

knew that his longtime friend, Officer Mike Speros, was suspected of being the

Son of Sam by other cops of their own precinct. the fact irritated both men,

perhaps Marchini more than his partner, for he knew the absurdity of it all.

Marchini made his statement, believing that Mike was still away in Cape

Cod on vacation with his family. “If anything were to happen this night,” says

Lou Marchini, “at least Mike would be nowhere near New York City.” Three

hours later, while watching an early-morning movie on television, Officer

Marchini’s hands went cold. A news flash broke across the screen telling of the

shooting. His premonition had come true.

POLICE OFFICER MIKE SPEROS had lived under extreme mental pressure for

months. Speros had seen other officers look at him with suspicion. they felt he

had all the characteristics of the killer as depicted by the police sketches. He

had been off duty when all the killings were done. He was left-handed. And

the fact that he was an artist didn’t help. the Son of Sam was supposedly

artistic. 

“I just couldn’t understand how the guys at work could believe I was the killer. they knew me—or at

least I thought they did,”says Speros. “I knew there was nothing I could do to change their minds. So I

hoped he would be caught while I was away.” But the Son of Sam was not.

Finally, a week before schedule, he decided to return. He packed his family

into his yellow VW bug, with its peculiarly ominous license plates GRK 44

(GRK stands for Greek), and drove back to his home in the Bronx.

 (Son of Sam, Simon & Schuster ebook edition)

  The movie Copycat tells the story of a serial killer who copies the modus operandi of the most infamous serial killers. Dr. Helen Hudson, portrayed by Sigourney Weaver and FBI agent M.J. Monahan played by Holly Hunter deduce he is following the order of serial killers listed in Dr. Hudson's book. When he goes to mimic Son of Sam, his victims are seated in a car (similar to SOS victims) and in the sideview mirror, the killer is seen as emerging from a yellow VW.

  Coincidence? Probably. If it's not, I would like to share this timeline of the yellow VW, in case anyone might think of Kubrick being influenced by a work in print.

Lawrence Klausner's Son of Sam - Published January 1, 1981

Maury Terry's Ultimate Evil - Published 1987

Copycat - Released October, 1995

Jay Weidner Kubrick's Odyssey 1 - April, 2011

The Shining - June 13, 1980

All wild speculation and just for fun.

Till next time.

There's nothing to this... The House of de Medici, a pictorial interlude

A Whimsical Interlude because there can't be anything to this... Right?

Kubrick's use of colors in EWS is stunning.

The use of Red:

Blue:

and Yellow:

are simply stunning.

I also enjoy the symbolism of the Fleur de Lis on blue wallpaper:

 

Google "Eyes Wide Shut" and Fleur de Lis

The Coat of Arms of the House of dei Medici: 

By ScolopendraJazz - Stemma dei Medici Stemma dei Medici Stemma dei Medici, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=47588168

The House of de Medici is a topic way beyond the scope of this blog and my humble abilities. Let us suffice to say they were among many other things, they were a great banking family, patrons of the Renaissance.

The masks in EWS were Venetian.

In addition to being a Beethoven opera and the Latin word for faithful, it was a journal for Lyndon LaRouche -http://www.schillerinstitute.org/fid_97-01/fidelio.html

A pdf of an article by Webster Tarpley on the Schiller Institute site is entitled "Venice's War against Western Civilization."

The opening paragraph states:

"The British royal family of today typifies the
Venetian Party, and continues the outlook and
methods of an oligarchical faction which can be
traced far back into the ancient world."

Dr. Bill meeting Nuala Windsor...

From Wikipedia:

"Over the next two decades, the Medici Bank opened branches in Rome, Geneva, Venice, and temporarily in Naples..."

Why would they fake the Moon landings anyway?

There are numerous opinions on why (if indeed they were) the Moon landings were faked.

"It was to bankrupt the Soviet Union" - yes, they many Soviet attempts to land a cosmonaut on the Moon bankrupted them... 20 years and a Cold War/Afghan War later.

"It was to get money for the military industrial complex" - Lord knows the Vietnam and Cold Wars weren't getting them any funds. Plus, great idea just to stop abruptly after Apollo 17 and never again leave Earth's orbit with a manned crew.

"It restored public confidence after the JFK, RFK, MLK, Malcolm X assassinations and took focus off Vietnam." - Maybe, but that was VERY high risk. If it was exposed on the heels of those national tragedies, I can't imagine how different we would be as a nation today

"The Nixon administration wanted to..." - Whatever

One of the other things that sticks in my craw is, if they were faked, why didn't the Soviets expose the hoax for all the world to see? Unless they derived some benefit as well, perhaps?

I was listening to Nexus magazine's Marcus Allen on Coast to Coast the other night where Mr. Allen was discussing his belief the landings were faked to bankrupt the USSR. I felt my old feelings of doubt regarding that assumption when something occurred to me.

We always regard the space program from a national perspective. But what if the architects of this are without national allegiances?

I view this through my Kubrick colored glasses with the EWS filter. What I'm positing is that IF the landings were faked, the ultimate goal was the effective control of the masses. The utter hoodwinking of a world's belief system. An ultimate experiment, if you will in manipulating mass consciousness.

I've said elsewhere in this blog (several times in fact, too lazy to go back and look for specific instances) that EWS was Kubrick's most autobiographical film. My personal feeling is that other  autobiographical films are The Shining and Barry Lyndon.

Others have gone into depth regarding The Shining, and I may attempt to share my personal observations regarding the Overlook, the Gold Room and a location that I think Kubrick is guiding us to... But let's talk about Barry Lyndon.

I know a lot of Kubrick fans who feel this is his least interesting movie, boring even. I think of it was the 1st movie in Kubrick's autobiographical cycle of work.

I once pointed out to Jay Weidner in an email correspondence that Lyndon reinforced his 'Kubrick faked the Moon landing' oeuvre. The protagonist, Lyndon is in love with his cousin, Nora Brady but the family wants her to marry British officer, John Quinn as it will enrich them financially and socially. To resolve the issue, a duel is staged between Quinn and Lyndon where the latter is led to believe he has killed Quinn and must flee to avoid the law. Lyndon leaves for the continent, never knowing that the whole thing was faked and so Quinn was free to wed Brady.

Lyndon goes on to ultimately wed a wealthy society widow by misrepresenting himself and ultimately falling out of high society.

The idea of a man who enters high society but does not ultimately belong, I believed referenced Kubrick and his associations built once he entered the film industry. I've also referenced elsewhere that the mask that Cruise/Harford wears to the Somerton orgy is a replica of ONeal/Lyndon's face.

One of ideas I came to entertain was the fact the Lyndon/Kubrick was hoodwinked at the beginning. What if, Kubrick DID fake the Moon landing photographs/video. What if Kubrick complied with the request, believing he was helping his country, enriching himself and his family, only to find out the truth later?

Why do I think this? Because, in addition to being autobiographical, I feel that the resonant theme of Kubrick's films from 2001 on is mind control.

The indoctrination of Alex in Clockwork Orange, the Monarch poster in The Shining (also the transformation of Jack Torrance) boot camp in Full Metal Jacket, the Rainbow references in EWS are some of the high level obvious examples. There are much more deeper and devious examples that require their own blog entry per film.

I think at some point Kubrick became aware that it was a big con, that the object was not to protect America or win the Cold War but to test controlling the populace. We believe what we're told.

Recall Capricorn One director, Peter Hyams comment: “There was one event of really enormous importance that had almost no witnesses. And the only verification we have . . . came from a TV camera.” - Wikipedia

Yet we believe what we were told, that we went there. If I have to convince you of the value of mass control and what it means to those who cast no shadows... then I can't help you.

Was Kubrick alerting us to Childhood's End?

 I've been working on a suggestion to view Eyes Wide Shut in other aspect ratios. I highly recommend it. If I can put it altogether, it will be the subject of my final blog entry.

There's a great site called Cryptokubrology that I also highly recommend. The author has done an amazing job of uncovering more mysteries, including the length of time between JFK and RFK's assassination is 237 weeks and the Kubrick - Ridley Scott connections.

Through Kubrick's collaboration with Arthur C. Clarke, the world was introduced to the concept of alien intervention in human history. Von Daniken's Chariot of the Gods and 2001 were released the same year, something the smacks of social engineering or conditioning to me. The original basis of 2001 was Clarke's short story, The Sentinel, written in  1948 as an entry to a BBC writing contest.

 My subject today is another work by Clarke, Childhood's End. Regarded by many as Clarke's best novel if not his best work overall.

Per Wikipedia:

"Several attempts to adapt the novel into a film or miniseries have been made with varying levels of success. Director Stanley Kubrick expressed interest in the 1960s, but collaborated with Clarke on 2001: A Space Odyssey (1968) instead.

"In the 1960s, director Stanley Kubrick was interested in making a film adaptation of the novel, but blacklisted director Abraham Polonsky had already optioned it. Instead, Kubrick collaborated with Clarke on adapting the short story "The Sentinel" into what eventually became 2001: A Space Odyssey (1968).^{[24] ]}"

To poorly  summarize the complex plot,  mankind is visited by the alien race, the Overlords. The Overlords have come to help assimilate the human species with the Overmind, a collective intelligence of past ancient civilizations throughout the universe. In the end the assimilation fails and mankind is destroyed.

In the miniseries that was done in 2014, the Overlord Karellen, tells one of the protagonists regarding spaceflight: "The stars are not for man..."

This brings me to the work of John Brandeburg a plasma physicist who has researched Mars since the early Voyager pctures showed the 'Face' on Mars. I have read and highly recommend his book, Death on Mars: The Discovery of a Planetary Nuclear Massacre available on Amazon.

Again, to poorly summarize the  John's research:

super abundances of certain isotopes on the Martian surface are indicative of weapons signature from thermonuclear weapons. Before you say 'no way' be advised, Brandenburg has made presentations to the scientific community as well as the general public and published his work. To this date, no one has appeared to contradict his work. This is similar to the the issue of Boston College geologist, Robert Schoch insisting the Sphinx being eroded by water, i.e. rain. Though the Egyptology community vociferously denied this as it messed with their agreed upon timelines, no geologist would dispute Schoch's claims.

This is taken from the Secret Space Program conference website regarding Brandenburg's presentation:

Presentation Synopsis

John will show us evidence in support of an Earth-like Mars in the past, followed by presentation of nuclear data revealing ‘weapon-signature’ isotopes showing two massive nuclear “airbursts” in the Northern regions of Mars.

It will be shown that ‘anyone who can read a a map’ can see that both nuclear explosion sites are correlated to dump their resulting strongest shock-waves and fallout downwind on Cydonia mesa and Galaxias Chaos, two sites reported earlier as locations of possible archeology.

Review of recent imagery form the latest probes to Mars confirms the archeological nature of the objects seen there, with a massive carved face, a nearby massive pyramid, at Cydonia Mensa and another carved face and ruins at Galaxias Chaos.

This all paints a scenario of a planetary nuclear massacre, and also that the US government has been aware of this evidence since 1976. It also depicts a universe where their are intelligent forces hostile to primitive civilizations such as ourselves, and that human acquisition of advanced space flight technology is mandatory, not optional. We must sent astronauts to Mars with all possible speed, to maximize knowledge of what happened there. This is the best way to avoid sharing Mars fate.

John's contention is there was a nascent civilization on Mars, on par with the Mayans or Egyptians  that was wiped out by someone. He relates it to Fermi's Paradox which states that life and civilization should be the norm in the universe but where is the noise of the other civilizations.

What does this have to do with Kubrick in general and EWS in particular.

As I stated above, Kubrick used science fiction to introduce the public to the concept of alien intervention. It was not in Kubrick's nature to revisit a concept using the same venue. The war movies, Paths of Glory, Barry Lyndon and Full Metal Jacket used wars from different eras (WW I, Seven Years War and Vietnam).

I feel there was a way of introducing the concept of Childhood's End finale in what I consider the most autobiographical of Kubrick's films.

As I have related in other posts, there are many autobiographical references in Kubrick's films including EWS. One I've been toying with lately is that Nick Nightingale, Dr. Bill Harford and Mr. Ziegler are all aspects of Kubrick.

Nick represents the Jazz musician Kubrick wanted to be, Dr. Harford represents the medical professional his father wanted him to be. Ziegler? This was a character not in the sourcework, Traumnovelle. It was invented by Kubrick and played by Sydney Pollack, a formidable director in his own right. Also, it is generally accepted by most conspiracy related researchers that the name Ziegler is intentional.

From the Illuminati Watcher website:

“Ziegler” is a German surname meaning ‘brick-maker’. There is also a Jewish University in Los Angeles that ordains Rabbis under this same title. Some theorists believe this is a tie to Freemasonry and the Kabbalah, which the checkered floor and surname support."

While I do not debate this, I would like to propose that maybe Ziegler is a pun, 'brick-maker' referring to Ku-brick. Brick maker could be Kubrick's father who tries to entice him into something (orgy group) and is possessor of certain knowledge. As Ziegler tells Bill:

"Bill, do you have any idea how much trouble you got yourself into last night just by going over there? Who do you think those people were? Those were not just some ordinary people. If I told you their names... no, I'm not going to tell you their names... but if I did, I don't think you'd sleep so well at night. "

Regarding not sleeping at night:

"Be careful what you wish for (re:alien life). If you guys knew even a fraction of the shit we do, you will never sleep again. I promise you that" - Paul Hertz Director of the astrophysics division at NASA

So to come back to the relation to EWS. Our best science tells us that something exterminated life on Mars.

The upshot of Childhood's End is we were found wanting and exterminated.

And finally as the orgy scene unfolds in EWS, Jocelyn Pook's soundtrack originally contained a recitation from the Bhagavad Gita. It was later removed after protests from Hindus. 

It stated:

“Whenever there is a decline of Dharma and the rise of Adharma,O Arjun, then I Shree Krishna manifest (or incarnate) Myself. I incarnate from time to time for protecting the good, for transforming the wicked, and for establishing Dharma”

Maybe Kubrick is saying we're due for an avatar. According to Hindus the next Avatar is Kalki, harbinger of the end time.

 All That Jazz

 It's Season 2 now, so it's ok to reference Mr. Robot right?

 

So in last season's finale, as Elliot is walking through Evil Corps headquarters after the encryption package has been released, the soundtrack is playing a there's a synthesized version of Dmitri Shostakovitch's Waltz No. 2.

It's the perfect mood music for a surreal moment. However, for me it will always evoke the opening moments of Eyes Wide Shut.

Kubrick's music choices for his films is a book in itself (Listening to Stanley Kubrick: The Music in His Films – by Christine Lee Gengaro) and there are several ways to interpret the choices for EWS. There's a definite Stalin era vibe with Shostakovitch and György Ligeti in the mix but it's the jazz element that catches my attention here and the economic collapse element in Mr. Robot that jarred my memory.

First, I'm not a musician, I only know what I've heard over time about Jazz being all about the notes you don't play as much as it is about the notes you do play. I have no idea what that means. But I know Kubrick was a Jazz enthusiast. So I think sometimes it's about what Kubrick leaves out.


Take for instance Mr. Harford's wild ride in EWS. When he hits roadblocks, Bill whips out his wallet.
Whether it's dealing with Domino, Mr. Millich or the itinerant cab driver, Bill is able to smooth things out and get his way by throwing money at the issue.

The big exception is at Somerton and after. Once he gets into trouble there, there's no more money fixes.

Reference to a world where cash is meaningless? To a level of our society that does not use cash for transactions?

Or presaging a time when money will be valueless? (In truth it already is, it only has inherent value because we believe it has inherent value.)

Does Kubrick try to be predictive? Probably not.

The other big note not played involves the scenery. Now recall all of the controversy around the set. The movie is set in New York city in the present time (1998-1999). We know it was filmed entirely in the UK. There were complaints about the streets being to wide for NYC, not enough foot traffic, etc.

The skyline shots as well as the shots from the bridge as Harford heads down 495, are all stock footage.

But one thing you never see in EWS and would easily create the atmosphere that one is in NYC, are the Twin Towers. They are NOWHERE to be seen in EWS. Not too big a deal? Maybe not. But check out any movie or TV show, set in NYC in that time frame (1998-1999) that DOESN'T show the towers at some point, and you'll have me convinced.

Maybe not predictive. Maybe just raising awareness.

Till next time

What does it all MEAN?

I'm right, Weidner's wrong (tongue in cheek)

I said at the beginning that as an artist, at some level Kubrick wants you to put your interpretation on his work. "Well, what do YOU think it means?" kind of thing.

I have an email string with Jay Weidner regarding the star symbol at Ziegler's Christmas Party in EWS.

Basically I was trying to convince him that the star wreath was a replica of Ishtar's star because it was eight pointed.  He was emphatic that it represented Venus and that it referred to Nicole Kidman's character as a symbolic Isis goddess.

I share below:

"Images off of the cross at Hendyae.  Please note the eight pointed star and the sun.  Kidman is Isis.  She has been chosen as the new female icon of the cult.  She is the missing person in the eleven girl circle at the orgy.  Something huge was cut from EWS.  It has to do with the star."

The Hendaye reference is from a brilliant book by Weidner and his co-author Vincent Bridges

The Mysteries of the Great Cross of Hendaye: Alchemy and the End of Time

 This image and text is from the website Vigilant Citizen

The star at Zeigler’s house is nearly identical to the ancient symbol of the star of Ishtar."
nowing Kubrick’s attention to detail, the inclusion of the star of Ishtar in this party is not an accident. Ishtar is the Babylonian goddess of fertility, love, war and, mostly, sexuality. Her cult involved sacred prostitution and ritual acts – two elements we clearly see later in the movie.

“Babylonians gave Ishtar offerings of food and drink on Saturday. They then joined in ritual acts of lovemaking, which in turn invoked Ishtar’s favor on the region and its people to promote continued health and fruitfulness.”
– Goddess Ishtar, Anita Revel

Ishtar herself was considered to be the “courtesan of the gods” and had many lovers. While inspired in bed, she was also cruel to the men that got attached to her. These concepts will constantly reappear in the movie, especially with Alice.
During the party, Bill and Alice go their separate ways and are both faced with temptation. Alice meets a man named Sandor Szavost who asks her about Ovid’s Art of Love. This series of books, written during the times of Ancient Rome, was essentially a “How to Cheat on Your Partner” guide, and was popular with the elite of the time. The first book opens with an invocation to Venus – the planet esoterically associated with lust. Interestingly enough, Ishtar (and her equivalents in other Semetic cultures) was considered to be the personification of Venus.

I share this to point out that both can be right, the trick is not to put too much emphasis on one interpretation. We can be too dogmatic. That being said, I do believe there are overarching themes that carry through all of Kubrick's films and that he meant for EWS to be his magnum opus. It was to at once celebrate the Cryptocracy and expose them as well.

UPDATE: I just watched the documentary Room 237 for the umpteenth time last night. I really enjoy it because I feel, to a degree, everyone quoted in the film is right. The Shining does make reference to the Native American holocaust as well as the Holocaust and to wild speculation about Apollo 11.
I personally feel that a lot of effort goes into pointing out there are a lot of  references to the number 42 and the luggage at the Overlook. What intrigues me is no one makes the connection that in 1942, Kubrick was 14 and his family moved to a new apartment (Source : Stanley Kubrick: A Biography By Vincent LoBruttobo, pg 10).
He was roughly the same age as Herman Raucher, the main character in the movie 'Summer of 42', the movie playing in the scene were Danny and Wendy are watching TV (that has no electrical cable). It's made note of the fact that regarding Room 237, that 2x3x7 = 42. So in '42 Kubrick moved into a new room.

Viddy well my brothers... Viddy well - More Peels from the MK-Orange

  A Clockwork Ultra

  On the surface, PWS (pre-wild speculation) A Clockwork Orange is a film masterpiece based on the book by Anthony Burgess about a youth culture violence in a near future society. The main character, Alex DeLarge leads a violent gang that rapes and beats it's way through life until he's caught, entered in an experimental rehabilitation project. In the British version of the book, there is a final chapter where Alex eventually matures enough to regret his violent, lawless youth.
   I once found a discussion board which attempted to answer what was the meaning of the film. I recall the Kubrick was mentioned only in passing while the majority of focus was on the book. Much speculation was around Burgess searching for meaning after he and his wife were assaulted in a home invasion.


 

I don't know if that is true. I should also mention I haven't read the book.

   Now, I will commence with the wild speculation, utilizing the works of Kubrick, Miles Mathis and Adam Gorightly. All inaccuracies and conclusions are mine, and I refer you to works of these individuals on their own merit, not on my interpretation. I'm obviously not in their league as researchers or writers.

Also, here's link to a great article regarding the book and film by Theodore Dalrymple:

http://www.city-journal.org/html/16_1_oh_to_be.html

The Act, the Masks, the 'Shadows in the Mirror' 

McDowell stated "If Kubrick hadn't been a film director he'd have been a General Chief of Staff of the US Forces. No matter what it is—even if it's a question of buying a shampoo it goes through him. He just likes total control." 
Filming took place between September 1970 and April 1971, making A Clockwork Orange the quickest film shoot in his career. - Wikipedia  (emphasis mine)

 

Examples of Eyes Wide ...

My speculation begins with the correlation of the film with the Manson Family murders.



Miles Mathis regarding Paul Tate:

"In 1959, the Tates moved to (Cafe?- FN)Verona, Italy, where Paul Tate was stationed at Passalacqua, the headquarters for SETAF (Southern European Task Force). This links him to Operation Gladio. General Maletti—commander of Italian military intelligence at the time of the Tate murders—later testified in court that the CIA had been involved in many false flag operations in Italy and Europe, including murders and bombings, “for the purpose of creating an Italian nationalism that was capable of halting what it saw as a slide to the left.” Sound familiar? Maletti added, “Don't forget that Nixon was in charge and Nixon was a strange man, a very intelligent politician but a man of rather unorthodox initiatives.” Nixon was in charge in 1969, but Operation Gladio had been instituted by Allen Dulles much earlier, and it was financed in large part by the US, through the CIA, which Dulles led under Eisenhower and Kennedy (1953 to late 1961). The Operation kicked into high gear in the late 50's to counter growing “leftist” movements, especially in Italy. We must assume that is why Paul Tate was in Verona in 1959 with his family. Paul Tate was not just military, he was a colonel in intelligence, which indicates he was probably involved in Gladio."

Manson 69 - 70 CWO - 71

Sharon Tate and Slim Pickens: