Nicole Kidman Says Illuminati Mind Control ‘Eyes Wide Shut’ Based on Tom Cruise Marriage

Eyes Wide Shut Scene with Mind Control Satanic Black Magic Ritual at Illuminati New World Order Cult Meeting; Nicole Kidman and Tom Cruise in the Movie

Nicole Kidman has opened up about her role in Stanley Kubrick’s final movie Eyes Wide Shut, in which she starred with her then-husband Tom Cruise.

In an article for The Hollywood Reporter to promote the Los Angeles County Museum of Art (LACMA) retrospective on the film and to promote her new movie The Paperboy with Zac Efron, Kidman says the director tried to base the disturbing thriller about a troubled married couple and the husband’s obsession with infiltrating an elite Satanic pagan cult on her real-life relationship with Cruise.

The movie shows a sinister cult of extremely wealthy people who meet in secret at mansions and host sessions dressed in Druid-like cloaks and old Venetian masquerade masks with mind controlled sex slaves and black magic rituals. The cult is not Scientology, but many people believe it is Kubrick exposing his first-hand knowledge of the Illuminati New World Order.

A theory as to why Kubrick died right before the film was released to theaters is that he was murdered to stop his movie rights. In his contract, he had the sole rights to make the final editing cut of the movie, but after he died, it was reedited before being released to the public. The movie likely was changed to not expose as much information about the terrifying cult since members of the real version of the group work within the movie industry, as well as other high ranking positions in business and government.

The link to Scientology is that the religion’s founder and science fiction author L. Ron Hubbard was friends and roommates with Jack Parsons, a founder of the U.S. Jet Propulsion Laboratory, who eventually led an American lodge of Aleister Crowley’s Satanic, black magical, ancient mystery school order Ordo Templi Orientis (O.T.O.) – a sect of the Illuminati New World Order agenda.

Nicole Kidman said to the movie trade magazine: “The most important thing to Stanley was time. My approach to the two-year shoot was actually very Zen. Tom and I thought, ‘We’re so lucky, we’ve gotten to spend two years with the master.’ Stanley said the film was finished — but if he had more time, who knows how it would have morphed.

“People thought that making the film was the beginning of the end of my marriage — but I don’t really think it was. Tom and I were close then, and it was very much the three of us. Onscreen, the husband and wife are at odds, and Stanley wanted to use our marriage as a supposed reality. That was Stanley: He used the movie as provocation, pretending it was our sex life. Which we weren’t oblivious to, but obviously it wasn’t us. We both decided to dedicate ourselves to a great filmmaker and artist.

“Stanley had to coax me into some of the sexuality in the film in the beginning, but we shot things that were a lot more extreme that didn’t end up in the movie. I did feel safe — I never felt it was exploitive [sic] or unintelligent. He was very different with women than he was with men. He has daughters, so he was very paternal with me.

“There was a lot of interest in Eyes Wide Shut before it was released. But the weekend it came out, July 16, 1999, was the death of JFK Jr., his wife and her sister — a black, black weekend. And for Stanley to have died [on March 7, 1999, at age 70] before the film opened … well, it all felt so dark and strange. Stanley had sent over the cut he considered done to us, Tom and I watched it in New York — and then he died. The next morning, I got the phone call. That was one of the worst calls — I just started screaming; I had Isabella and Connor in the kitchen with me. Tom and I immediately got on a plane. The funeral was so traumatic. I truly loved Stanley and felt very connected to him. He was in our lives intensely for about four years.

“People have asked me if Stanley ever told us what Eyes Wide Shut was about — and the answer is no. He didn’t believe in interpretation. He always said, ‘Never say no to an idea — you never know how that idea will ignite another idea.’ He also said: ‘Never put me on a pedestal. When someone’s on a pedestal, there’s no creativity.’ That’s how I approach every creative person now — it does not help to glorify them.

“I see Stanley as a great philosopher of the human condition, like Socrates was in his time. That’s what von Trier, Daldry, Campion and Stanley are. We need these kinds of filmmakers. People rarely read now. Philosophical ideas are coming from cinema. I try to be supportive of artists who question everything. It’s optimum to work with someone trying to shift things, to give us a greater understanding of why we’re here, what we are. When you’re working with someone like that, as Stanley was, it’s an honor.”