The True Story Of Capricorn One MGTV History Archives 2017

Video Transcript:

I think that's all for good. That one was pretty good. We have it in 15 seconds. Oh yeah, you got a lot of time. I claim this land in the name of... What do you got now? Okay, now one of the people that Carl James spoke about is Bill Kasing. I think Bill Kasing is probably the first person to suggest that Stanley Kubrick might have been involved. Bill Kasing was a technical author. He worked on various technologies that NASA used. So he had a good knowledge of the space industry. And he wrote a book called We Never Went to the Moon. We spoke about this book on the programme. Now, after this programme aired, I got an email from somebody with some new information. And I asked Carl James, I sent him the information. I said, did you know about this? He said, no, I didn't know that. Andrew Johnson didn't know either. So I'm going to give you this information. Share it with you today, which was as a result of putting this out on the internet. It's an Italian researcher. Now, before I go on to that, how many of you are familiar with this film, Capricorn 1? Yeah, now, let me just fill you in on the plot first. This film is set in the near future. And it's about a manned mission to Mars. So in the film, we've got the rocket on the launch pad. And we've got the sort of vice president who's there watching and getting it ready to take off. Just before the rocket takes off, someone pulls the astronauts out of the rocket, sticks them on a plane, and they get taken to a secret hangar. And then they're taken out of the plane. And in the hangar is this Mars set. So the guy in the suit there who works for NASA, he says, look, guys, he says, if we put you in that rocket to Mars, you would not come back alive. Our technology is nowhere near, ready enough. But we don't want to say that to the public. We don't want even to say that to Congress. Because if we admit that we cannot do this mission, it's going to affect all future space missions. We're going to get our funding pulled. So what we're going to do, we're going to fool everyone, we're going to fake this one mission to Mars, and then our funding will continue after that. So the NASA guy there in the suit says to the astronauts, I want you to put your spacesuits on and prance around this, so if a film set, and we're going to fake the mission, and the astronauts are standing there saying, no, we're going to fang away. So the NASA guy turns to them and says, well, if you don't, we're going to kill your families. That's the plot of a Hollywood film called Capricorn 1. So this is a film which is suggesting that an agency of the US government would threaten its own employees by getting their families murdered. Now that is extremely unusual for Hollywood. Normally, films about space or films which feature military hardware are always pro-US. US always come out like whiter than white. So this is extremely unusual to say that an American agency would actually fake a mission to Mars. So what's going on here? And I think I found the answer to this, because I was contacted by researcher Albino Gallapini, this Italian guy, and he is writing an autobiography of Bill Kessing, the guy who first suggested that Kubrick fake the moon landings. This is what he wrote to me. He said that in 1977, that's the year before Capricorn 1 was made, Ruth and Bill Kessing bought a caravan in Las Vegas for the sole purpose of being a mobile office for developing a screenplay inspired by the book we never went to the moon. For this purpose, the Eden Press, which had published the first edition of the text, hired screenwriter Ken Rotkop, entrusting him with a task. They all worked hard, assisted by Bill Butters, who felt certain of being able to be funded in the project by Saliu Grade, a famous Ukrainian born London-based film producer. So Bill Kessing had got a screenplay ready, which was almost identical to Capricorn 1, but it was going to be about a faked mission to the moon, and it was going to tell the alleged true story exposing the whole lie about the moon missions. That's what the film was going to be about. But in that precise period, producer Paul Lazarus, with director Peter Highams, produced a movie whose plot traced in a stunning way their screenplay, with the only expedient difference that the simulation of space travel took place on Mars instead of the moon. Highams' film was titled Capricorn 1. So Bill Kessing found out about this, and he decided to sue the people who made Capricorn 1, because they'd stolen his script. And made one key difference, that it was a fake mission to Mars, and by making that one key difference, they're fictionalizing the whole film, turning it from a factual film into a fictional film. So the writer filed a lawsuit against universal films, and Peter Highams, unsuccessfully, at a court in Beverly Hills for copyright infringement. According to the thesis proposed by his lawyer, the script was largely borrowed from the book on the lunar plot, and identified 16 elements in the film that violated copyright. A private investigator, hired by the legal office in support of the suit, made a shocking discovery. In Washington, some on in connection with the script, had falsified the date of filing for copyright in the office in charge. The lawyer, impressed by the fact, gave the mandate, saying, Bill, I have a wife and two boys, I do not want to clash with people. So powerful, as to be able to alter the filing date, at a patent office. So according to this, what they've done, they've nickbed Bill Casing's script, they've changed part of it to say, it's a fake mission to Mars, they've filed the copyright of that script, and they've falsified the date, so it predates Bill Casing's script, and then they've made the film, and that prevents him from ever making that film, exposing the alleged truth about the moon landings. Alright, because if he did make this film, they could say, well, our film came out first, so you were breaching our copyright. Alright? I claim this land in the name of... Where you got now? Now move. I'm going to take my hand, I'm going to cut it off. Ready, and action. Nice pedal, man, everyone's settled. Ready, and action. Cut it, Jim. There you go. Strip that, we're at four. He needs to go already, walk this mark. We're at one tomorrow, okay? Let me walk it, I don't want to... Here's what we really needed, to go to his left and then, to his right and to his back, is that right? Yes. A light on the car, no light. No light. That's light. That's light. That's light. That's light. Yeah. Exactly right, and it has to be, we have to be high enough, so that we've got you against blue sky, and not against earth, as you're coming in. You're coming in and descending approach, as you get in... We can rehearse it, say go back and we'll rehearse it, and see how it looks. Ready, and action. Handswing. Holy quiet. Time to head up. Hand later Oğlum. Please check theх? Ah nice. the light An action. All right, all the time. Ready? Ready? And action! Ready? And action! Use the second marker there. Love you, nice to meet you. That's right. We're in a little deep now. Let me tell you. We're rolling. Stand behind me, we go! Marker? Yeah. Right now, you know it's better. Forget it. I'm sorry. That's a very deep location. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. Why is this a video in places? It's absolutely incredible. And the most spectacular view. The power to miss the crater. My tap! My tap, John! Ready? Ready? And action! Let's say it's another little threat. I think that's off a good. Do you use clamps to fix on this one? Be a mic tap hit. That takes us a big. Action! What the feelings of the Apollo program are and a symbol of mankind that we can live in our station. am my You landed in a field? Full! Full! That's clean! Okay, you can just be the biplane coming overhead about three hundred feet. We're certainly in the back of the line. That's very deep. I'm gonna cut the ass there. Kale's like coming up right now. Are we hurtful guys? This is just a rehearsal. Ready and action. Out of view, total high. I think it's been almost ten years since we've been trying to do this. The pitch forward got a really good feeling. You're going to get much in great coming up nine minutes. I'm doing a tango planning. Three thousand feet. Peter has put a mark back there where he wants to let you get out. Five and a half hours. It's a tire and some go. Forward. You're a boss. Is he good? Good to know? Alright. Yeah, that's alright. Get out! We're closing the line. That's the man over the line off. And then I'm on the surface. Four thirteen is in. Man on the moon! That's a deal. Ready and action. What are you saying? It's not a good idea. What are you going to do? Ready and action. Ready and turn. Right now, you're not as better. Forget it. What do you mean? I don't think there's a boy. You know what I'm saying? This is this shot. Right? Only then what are you going to move around another master? Before you get in closer? No, no. This sequence right here. Yes. Two shots of you. You have to pick it up from there. And then move into a four shot. It comes back. As the scene progresses, we're going to move. Yeah. Because I don't think you can divorce this kind of station for that. I'll forgive it just came from the mine. Salahids and this. We were going to stand up. We were reacting. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. The way we would react to seeing this. SELECTED ANYTHING Vebranches Eiffel Tower