What's your theory about 9/11?

Hans Peper said:
Thanks for the link Mac
I can see you are digging in that problem.

It is clearly not a W but it is clearly not an A. It is war and the whole building is damaged. The letters are also damaged. The Y is not more vertical.
And a letter ^ does not exist.
So the question is, what was it befor. Everyone awaiting a vietnamesic word like My Toan.
Everyone, who is looking for an explanation for the camara position and strange alighnment in the scene where the "monolithe" is burning is open for " My Town".
And the letters which stay back in the end are Y N .
So shall I choice MY TOAN when MY TOWN fits ?
Click to expand...

Considering the setting of FMJ (Vietnam) I would have to say you are wrong....there is no possible way it says "MY TOWN" if it did that would be a huge movie blunder, just for the simple fact that there is no "W" in the vietnamese alphabet....https://en.wikipedia.org/wiki/Vietnamese_alphabet

You're trying to make something out of nothing.
 
How shoud Kubrick do that, Mac

The position of the Y and N is fixed , But when it "rains" down, the sniper reads NY if she is looking outside.

A mirrowed word is the same word as before, only mirrowed.
 
Hans Peper said:
How shoud Kubrick do that, Mac

The position of the Y and N is fixed , But when it "rains" down, the sniper reads NY if she is looking outside.

A mirrowed word is the same word as before, only mirrowed.
Click to expand...

Ah, apparently it doesn't make any difference what it is or how it changes or even if they are different letters, you are going to make it into what you want to see. This is a good example.
 
Hans Peper said:
How shoud Kubrick do that, Mac

The position of the Y and N is fixed , But when it "rains" down, the sniper reads NY if she is looking outside.

A mirrowed word is the same word as before, only mirrowed.
Click to expand...

Can you just say "thanks guys, I was wrong" and move on?

I'd :rule10: PAY see just one of you people admit fault, even on something as insignificant as a movie set.
 
Hans Peper said:
How shoud Kubrick do that, Mac

The position of the Y and N is fixed , But when it "rains" down, the sniper reads NY if she is looking outside.

A mirrowed word is the same word as before, only mirrowed.
Click to expand...


So "my town" has been shown to make no sense. All you have now is:

ИY

Therefore: 911 was in inside job! Brilliant...
 
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djlunacee said:
Considering the setting of FMJ (Vietnam) I would have to say you are wrong....there is no possible way it says "MY TOWN" if it did that would be a huge movie blunder, just for the simple fact that there is no "W" in the vietnamese alphabet....https://en.wikipedia.org/wiki/Vietnamese_alphabet

You're trying to make something out of nothing.
Click to expand...

No , I try to make something out of a little.

I am sure, that there was no letters on a house in the whole country which says "My Town".

I guess it is used by Kubrick, to place his hint.

What are you waiting for : that I present letters on Ruins, where you can read :

"This is Kubrick : The WTC will burn in 2001 if you want to know who did it, look my film Eyes wide shut. This is a real message."
 
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Hans Peper said:
No , I try to make something out of a little.

I am sure, that there was no letters on a house in the whole country which says "My Town". I guess it is used by Kubrick, to place his hint.
What are you waiting for : that I present letters on Ruins, where you can read :

"This is Kubrick : The WTC will burn in 2001 if you want to know who did it, look my film Eyes wide shut. This is a real message."
Click to expand...

This has been clearly shown to make no sense. Is it possible that you might have been mistaken? Even a little? Come on...
 
Hans Peper said:
I guess it is used by Kubrick, to place his hint.
Click to expand...

And what do you consider the probability that this guess is wrong?
Given that you are also guessing there is a hint to be placed, a need for a hint, or a connection from which the hint can be produced.

I would suggest rather more likely than your "theory" being correct.


Hans Peper said:
What are you waiting for : that I present letters on Ruins, where you can read :

"This is Kubrick : The WTC will burn in 2001 if you want to know who did it, look my film Eyes wide shut. This is a real message."
Click to expand...
[/quote]

Well, what would be nice was if you addressed what had already been raised and answered the questions we asked.

Try this one:
What qualifications or formal training, memberships of iconology organisations or articles in peer review journals do you have to your name to varify that you are indeed performing a study in a real field as your posts have suggested? In short, please varify what you are doing is bonafide iconology, a genuine field with a recognised methodology.
 
Hans Peper said:
How shoud Kubrick do that, Mac

The position of the Y and N is fixed , But when it "rains" down, the sniper reads NY if she is looking outside.

A mirrowed word is the same word as before, only mirrowed.
Click to expand...

And if my aunt had balls, she'd be my uncle.
And Kubrick's dove of peace flying overhead read the two letters as" _ _"
Meaning, in Vietnamese Morse code " My dog has no nose- How does he smell? - Awful !"

From Rolling Stone interview:

[FONT=helvetica, arial] People always look at directors, and you in particular, in the context of a body of work. I couldn't help but notice some resonance with Paths of Glory at the end of Full Metal Jacket: a woman surrounded by enemy soldiers, the odd, ambiguous gesture that ties these people together...

K- That resonance is an accident. The scene comes straight out of Gustav Hasford's book.

So your purpose wasn't to poke the viewer in the ribs, point out certain similarities...

K- Oh, God, no. I'm trying to be true to the material. You know, there's another extraordinary accident. Cowboy is dying, and in the background there's something that looks very much like the monolith in 2001. And it just happened to be there.
The whole area of combat was one complete area -- it actually exists. One of the things I tried to do was give you a sense of where you were, where everything else was. Which, in war movies, is something you frequently don't get. The terrain of small-unit action is really the story of the action. And this is something we tried to make beautifully clear: there's a low wall, there's the building space. And once you get in there, everything is exactly where it actually was. No cutting away, no cheating. So it came down to where the sniper would be and where the marines were. When Cowboy is shot, they carry him around the corner -- to the very most logical shelter. And there, in the background, was this thing, this monolith. I'm sure some people will think that there was some calculated reference to 2001, but honestly, it was just there.
[/FONT]
Where were those scenes filmed?
K -We worked from still photographs of Hue in 1968. And we found an area that had the same 1930's functionalist architecture. Now, not every bit of it was right, but some of the buildings were absolute carbon copies of the outer industrial areas of Hue.

Where was it?
Here. Near London. It had been owned by British Gas, and it was scheduled to be demolished. So they allowed us to blow up the buildings.
http://www.visual-memory.co.uk/amk/doc/0077.html
 
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BasqueArch said:
And if my aunt had balls, she'd be my uncle.
And Kubrick's dove of peace flying overhead read the two letters as" _ _"
Meaning, in Vietnamese Morse code " My dog has no nose- How does he smell? - Awful !"

From Rolling Stone interview:

[FONT=helvetica, arial] People always look at directors, and you in particular, in the context of a body of work. I couldn't help but notice some resonance with Paths of Glory at the end of Full Metal Jacket: a woman surrounded by enemy soldiers, the odd, ambiguous gesture that ties these people together...

K- That resonance is an accident. The scene comes straight out of Gustav Hasford's book.

So your purpose wasn't to poke the viewer in the ribs, point out certain similarities...

K- Oh, God, no. I'm trying to be true to the material. You know, there's another extraordinary accident. Cowboy is dying, and in the background there's something that looks very much like the monolith in 2001. And it just happened to be there.
The whole area of combat was one complete area -- it actually exists. One of the things I tried to do was give you a sense of where you were, where everything else was. Which, in war movies, is something you frequently don't get. The terrain of small-unit action is really the story of the action. And this is something we tried to make beautifully clear: there's a low wall, there's the building space. And once you get in there, everything is exactly where it actually was. No cutting away, no cheating. So it came down to where the sniper would be and where the marines were. When Cowboy is shot, they carry him around the corner -- to the very most logical shelter. And there, in the background, was this thing, this monolith. I'm sure some people will think that there was some calculated reference to 2001, but honestly, it was just there.
[/FONT]
Where were those scenes filmed?
K -We worked from still photographs of Hue in 1968. And we found an area that had the same 1930's functionalist architecture. Now, not every bit of it was right, but some of the buildings were absolute carbon copies of the outer industrial areas of Hue.

Where was it?
Here. Near London. It had been owned by British Gas, and it was scheduled to be demolished. So they allowed us to blow up the buildings.
http://www.visual-memory.co.uk/amk/doc/0077.html
Click to expand...

Why is it that professional iconologist can't seem to be as good as skeptics at doing simple research?

Great find! :cool:
 
Kubrick himself came down to that topic of the monolithe. He want to talk about "where anything was". The interwiev is from 1987 the year, when the movie was ready. And this interview is part of the promotion.

A good chance for him, to set the right curse.


If I took away all of the text which is not needed : ( to make it fit :o )

"I'm trying to be true .
You know, there's another extraordinary .
Cowboy is dying, and in the background there's something that looks very much like the monolith in 2001.

The whole area exists. I tried to give you a sense of where everything else was. The terrain of small-unit action is really the story of the action. And this is something we tried to make beautifully clear: there's the building space. And once you get in there, everything is exactly where it actually was.

When Cowboy is shot, they carry him around the corner -- . And there, in the background, was this thing, this monolith. I'm sure some people will think that there was some calculated reference to 2001."
 
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