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A Clockwork Shining: Symbolism Deep Dive | Autodidactic · Ryder Lee

• 0:00
  Speaker 1: H h. Hello and welcome Campbell here from Autodidactic and
• 0:28
  Speaker 1: I have with me today writer from Raised by Giants
• 0:32
  Speaker 1: and Writers just put out a new doco with with
• 0:36
  Speaker 1: Jay Widner based on well lots of things, but mainly
• 0:40
  Speaker 1: The Shining and the hidden messages they're found in it.
• 0:43
  Speaker 1: It's called a Clockwork Shining.
• 0:46
  Speaker 2: Uh.
• 0:46
  Speaker 1: And you know, obviously it's a pretty famous Stanley Kubrick film.
• 0:50
  Speaker 1: And you know, I've seen a few of the videos
• 0:53
  Speaker 1: put out there about the hidden messages and they're talking
• 0:55
  Speaker 1: about space and the moon landing and all this kind
• 0:57
  Speaker 1: of stuff. But you've come up with, i say, a
• 1:01
  Speaker 1: completely different message that was given by this back kubric
• 1:05
  Speaker 1: through this film. So I'll just give you the flow
• 1:09
  Speaker 1: mine and you can go ahead and let us know
• 1:11
  Speaker 1: what you found. How you going.
• 1:13
  Speaker 2: Thanks for having me on, Campbell, really appreciated. And yeah,
• 1:16
  Speaker 2: The Shining is really a movie that has been theorized
• 1:19
  Speaker 2: about for a really, really long time. There's so many
• 1:22
  Speaker 2: theories surrounding what the Shining is really about. And Jay
• 1:24
  Speaker 2: Widner that you just brought up, had done two previous
• 1:27
  Speaker 2: movies to this, one called a Kubrick's Odyssey one and
• 1:30
  Speaker 2: a Cubri's Odyssey two, where he basically theorized that The
• 1:34
  Speaker 2: Shining is Cubric's confession to faking the moon landing. That's
• 1:38
  Speaker 2: where that entire theory comes from. It comes from Jay
• 1:41
  Speaker 2: Widner and I've been watching The Shining several times, and
• 1:45
  Speaker 2: I was going to bring Jay on my show to
• 1:46
  Speaker 2: have a discussion about his two movies and what he
• 1:49
  Speaker 2: had found within The Shining and Stanley Kubrick and his
• 1:51
  Speaker 2: decode of it, and I found something new and I
• 1:56
  Speaker 2: was talking to him about it, and I'm like, Jay,
• 1:58
  Speaker 2: I think this is what the movie's really about, and
• 2:02
  Speaker 2: I think it's pretty solid. We should do a movie
• 2:05
  Speaker 2: about it. And he was like, Yeah, let's for sure
• 2:08
  Speaker 2: do a movie about it. And then we decided to
• 2:10
  Speaker 2: do jfk X first to kind of, you know, cut
• 2:14
  Speaker 2: our teeth on it, because he's a film producer who's
• 2:16
  Speaker 2: been making movies for a really long time. He was
• 2:18
  Speaker 2: the head of Gaya, the film department at Gaya, and
• 2:24
  Speaker 2: so we decided to do JFKX first. What's JFKX is
• 2:28
  Speaker 2: also on Amazon Prime as well, and we use the
• 2:33
  Speaker 2: money that we made from that movie to fund this
• 2:37
  Speaker 2: movie because there's a lot of more moving parts to
• 2:40
  Speaker 2: this movie. We had more people in this movie. We
• 2:42
  Speaker 2: have author and researcher Mark Dovlin, which a lot of
• 2:45
  Speaker 2: people are familiar with from the uk IS and a
• 2:48
  Speaker 2: lot of research into the music industry. And we also
• 2:52
  Speaker 2: have Kathy O'Brien, which is an MK ultra monarch survivor
• 2:55
  Speaker 2: really popular in the community. And then we have Joe Atwell,
• 2:58
  Speaker 2: which is another off and researching, and we have AFOSI
• 3:03
  Speaker 2: Air Force special Agent Walter Bosley also in the movie.
• 3:07
  Speaker 2: So this one took more time and more effort and
• 3:11
  Speaker 2: more energy to put all this together. But I'm really
• 3:15
  Speaker 2: happy that we did it like that. And this one
• 3:18
  Speaker 2: wasn't my first movie, so it's I'm a second time director, baby.
• 3:24
  Speaker 2: But so as I was watching The Shining over and
• 3:29
  Speaker 2: over again, I'm starting to see things that I was
• 3:33
  Speaker 2: seeing things that people had already seen before, and then
• 3:36
  Speaker 2: I was also seeing new things within The Shining, because
• 3:39
  Speaker 2: really it's a movie that every single time that you
• 3:42
  Speaker 2: watch at Campbell, you see something different. But I thought
• 3:46
  Speaker 2: that people had just dissected this movie to a part
• 3:51
  Speaker 2: and found every possible thing that could possibly be found
• 3:54
  Speaker 2: within this movie. And I was wrong because I found
• 3:57
  Speaker 2: several things within the movie that point to the fact
• 3:59
  Speaker 2: that our theory that we present in a Clockwork Shining
• 4:03
  Speaker 2: on Amazon Prime Video is the correct theory of what
• 4:07
  Speaker 2: the Shining is really about. And it boils down to
• 4:10
  Speaker 2: Stanley Kubrick being using the shining as an experiment. Cubric
• 4:18
  Speaker 2: is not only using the shining as an experiment on
• 4:20
  Speaker 2: the audience, the people that are watching it. With all
• 4:22
  Speaker 2: of the continuity errors, which I'm going to bring up
• 4:26
  Speaker 2: some slides here in a little bit here later on
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  Speaker 2: that really go in depth about these continuity airs, because
• 4:32
  Speaker 2: there's not only continuity errors with objects disappearing and reappearing
• 4:38
  Speaker 2: or moving around from shot to shot, there's also dialogue
• 4:42
  Speaker 2: continuity errors, which is so interesting because Cubric had an
• 4:45
  Speaker 2: entire team behind him making his movies. This isn't like
• 4:49
  Speaker 2: a one man show like your show, Campbell. It's probably
• 4:53
  Speaker 2: just you and my show. It's just me. We're doing everything,
• 4:57
  Speaker 2: so we're spread really thin a lot of the time.
• 5:00
  Speaker 2: Not with Cubric. He had like a huge team of
• 5:04
  Speaker 2: researchers and people behind him that was doing all this stuff.
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  Speaker 2: So this had to have gone past several people's eyes,
• 5:11
  Speaker 2: and all these continuity rors are so blatantly obvious, but
• 5:14
  Speaker 2: some of them are so meticulous that is difficult to
• 5:19
  Speaker 2: catch them on the first couple of times through the movie,
• 5:22
  Speaker 2: especially the dialogue errors within the movie. So I'm going
• 5:28
  Speaker 2: to present some of that I here today for your audience,
• 5:31
  Speaker 2: and we're going to dive into what Kubrick was really
• 5:36
  Speaker 2: trying to present with the movie The Shining, because, like
• 5:42
  Speaker 2: I mentioned, Jay had to come up with his theory
• 5:45
  Speaker 2: of what The Shining is really about, with it being
• 5:47
  Speaker 2: you know, in his previous two films. You know that
• 5:51
  Speaker 2: cubric was it was his confession to faking the Moonlaning.
• 5:54
  Speaker 2: But there is a lot of evidence for that, which
• 5:57
  Speaker 2: I'll also show in these slides that we're going to
• 6:00
  Speaker 2: get into. But what was your reception of it whenever
• 6:05
  Speaker 2: you watched it?
• 6:08
  Speaker 1: Yeah, yes, I've never seen The Shining before. I've just
• 6:11
  Speaker 1: watched it this week, which was, you know, I'm just
• 6:16
  Speaker 1: basically not a horror person, and I thought it was
• 6:18
  Speaker 1: a horror. It's not really a horror. No, No one
• 6:23
  Speaker 1: thing I found that was interesting. Three or Docco which
• 6:26
  Speaker 1: was awesome as well. I've watched that was because it's
• 6:30
  Speaker 1: a Stephen King story. He didn't like the movie and
• 6:33
  Speaker 1: he actually went and remade it. I never knew that,
• 6:36
  Speaker 1: so that that I found very interesting. But yeah, like
• 6:41
  Speaker 1: the points that you come up with and your take
• 6:44
  Speaker 1: on it is definitely something that I've never heard before.
• 6:47
  Speaker 1: I've seen, you know, obviously some of the other decodes
• 6:49
  Speaker 1: on the movie, but watching it and your doco, like,
• 6:53
  Speaker 1: it makes a lot of sense, and especially it makes
• 6:56
  Speaker 1: a lot of sense in you know, the bigger picture
• 6:59
  Speaker 1: of what going on in the world at the moment.
• 7:01
  Speaker 1: It has been sort of going on for the last
• 7:04
  Speaker 1: you know, fifty sixty seventy years. Yeah, it makes a
• 7:09
  Speaker 1: lot of sense what you sing.
• 7:12
  Speaker 2: So I really enjoyed the Did you watch the Shining
• 7:16
  Speaker 2: before you watch the documentary or did you watch the
• 7:19
  Speaker 2: documentary and then watching.
• 7:23
  Speaker 1: I actually watched half of the Shining up just up
• 7:28
  Speaker 1: until the point just before Jack, you know, goes a
• 7:32
  Speaker 1: bit crazy. Then I watched Your Doctor and then I
• 7:35
  Speaker 1: watched the second half. So it wasn't I didn't mean
• 7:37
  Speaker 1: to do that, so the way it worked out, but
• 7:41
  Speaker 1: doing it that way was actually really good, I thought.
• 7:45
  Speaker 1: So Yeah, yeah, I could definitely got you know, your
• 7:48
  Speaker 1: your gist of it, your take on it. Watching the
• 7:51
  Speaker 1: second half because I guess that's where you know, most
• 7:55
  Speaker 1: of the stuff happens, right, is him his sort of
• 7:57
  Speaker 1: descent into craziness or just leve that I want to
• 8:01
  Speaker 1: give away you know, your theory too early. But yeah,
• 8:05
  Speaker 1: yeah I found it. Yeah, it made sense to me.
• 8:08
  Speaker 1: And you know, with all the other stuff I look
• 8:11
  Speaker 1: into the whole, you know, what's going on with the
• 8:15
  Speaker 1: bigger picture and those who wish to rules and what
• 8:18
  Speaker 1: they're actually doing it. Yeah, it just made a lot
• 8:20
  Speaker 1: of sense to me.
• 8:21
  Speaker 2: Yeah, that's wild that you watched for the first time
• 8:25
  Speaker 2: half the Shining and then you watched our documentary Clockwork Shining,
• 8:30
  Speaker 2: then you finished the Shraining. That had to have been
• 8:32
  Speaker 2: quite an experience.
• 8:35
  Speaker 1: Yeah, yeah, definitely got me thinking. Yeah, so it sort
• 8:41
  Speaker 1: of went over well two days basically, one night, then
• 8:45
  Speaker 1: your docer during the day, then finished it the next night.
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  Speaker 1: So yeah, yeah, it was like it was, Yeah, I
• 8:53
  Speaker 1: think it was a good way to do it. You know,
• 8:55
  Speaker 1: it really sort of I got the message and then
• 8:58
  Speaker 1: could sort of watch you know, the the Descent of
• 9:02
  Speaker 1: Jacket and sort of, yeah, get the get your maning
• 9:04
  Speaker 1: out of it. So it was really that was a
• 9:06
  Speaker 1: good way to do what I thought.
• 9:08
  Speaker 2: Let me ask you a question real quick, did you
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  Speaker 2: Because I've several people that I've done interviews with. My
• 9:17
  Speaker 2: friend Ryan Gable that's on my channel, Raised by Giants
• 9:21
  Speaker 2: is on there, with my friend Mike and my other
• 9:25
  Speaker 2: from Parallel Mike Podcasts, and my other friend Tim. They've
• 9:30
  Speaker 2: all had really strange dreams after they watched my movie.
• 9:37
  Speaker 2: Did you happen to have any weird dreams that stuck
• 9:42
  Speaker 2: out to you after you'd watched the movie that night?
• 9:48
  Speaker 1: Well, now that you mentioned it, yeah, I have had
• 9:51
  Speaker 1: some pretty strange dreams in the last couple of nights. Yeah,
• 10:00
  Speaker 1: you know, not you know, not that I you know,
• 10:02
  Speaker 1: it was anything to do with the actual movie, but
• 10:04
  Speaker 1: they were just weird, just very very strong. Yeah, I yes,
• 10:10
  Speaker 1: definitely I had. Yeah, Yeah, I had.
• 10:13
  Speaker 2: So that's a weird one, dude. That's been reported so
• 10:15
  Speaker 2: many times, Like there's something like strange and and it
• 10:19
  Speaker 2: revolves around Stanley Kubrick's film in the way that it's shot,
• 10:25
  Speaker 2: and the imagery and the type of music and the
• 10:28
  Speaker 2: sound effects that he uses within the Shining, which our
• 10:31
  Speaker 2: documentary of Clockwork Shining heavily, you know, reflects a lot
• 10:35
  Speaker 2: of that imagery because We put a lot of clips
• 10:38
  Speaker 2: from The Shining inside of our documentary, but I had
• 10:41
  Speaker 2: had the same type of experience, and I thought that
• 10:45
  Speaker 2: I was one of the only ones, but not with
• 10:48
  Speaker 2: my documentary, but with watching The Shining like I because
• 10:51
  Speaker 2: I would watched it all the time trying to figure
• 10:53
  Speaker 2: out more things about it, and I had left it
• 10:54
  Speaker 2: on one night and I had some of the most bizarre, strange,
• 10:58
  Speaker 2: weird dreams that I had ever had, and then I
• 11:02
  Speaker 2: was like, oh, I can't watch this whenever I'm going
• 11:04
  Speaker 2: to sleep. Then when the movie was almost complete, well
• 11:08
  Speaker 2: it was complete, I sent it to Jay Widner for
• 11:11
  Speaker 2: him to watch it, and he did a screening of
• 11:13
  Speaker 2: like four to five people. Then he contacted them the
• 11:16
  Speaker 2: next day and they all said that they had really
• 11:19
  Speaker 2: strange and weird dreams after they had watched our movie.
• 11:22
  Speaker 2: And then I sent it to Ryan Gable, which I
• 11:24
  Speaker 2: was mentioning. He said that he had really weird and
• 11:26
  Speaker 2: strange dreams after he watched it. And then it's just
• 11:28
  Speaker 2: been this theme of people having I think one person,
• 11:34
  Speaker 2: I think my friend Tim on his show. He said
• 11:37
  Speaker 2: that it wasn't like a nightmare, it was just like weird,
• 11:41
  Speaker 2: like where he was like on an elevator and he
• 11:43
  Speaker 2: was just like falling forever and then he ended up
• 11:47
  Speaker 2: someplace else. Like just weird, strange dreams. So we're continuing
• 11:51
  Speaker 2: the theme here this evening with these strange dreams. And
• 11:55
  Speaker 2: it doesn't have anything to do with my film, guys.
• 11:58
  Speaker 2: That's I didn't put any thing in there. There's nothing
• 12:01
  Speaker 2: symbolically but in there, all the tones are all stock tones,
• 12:05
  Speaker 2: all the music is all royalty free music. It's there's
• 12:10
  Speaker 2: not there's not any yell of weird frequencies like that
• 12:14
  Speaker 2: Obama movie on nothing got Nothing.
• 12:18
  Speaker 1: Yeah, I watched half of the Shani and had we
• 12:20
  Speaker 1: draam that night. Sorry before i'd sagen your dock eye,
• 12:23
  Speaker 1: so it definitely wasn't and then again for the second
• 12:27
  Speaker 1: half again just but yeah, not horror dreams or anything
• 12:31
  Speaker 1: that or not me. It's just just weed weed, just strange.
• 12:37
  Speaker 1: That's interesting, especially you know, given your take on the
• 12:41
  Speaker 1: movie and what it's about, that that's even more interesting.
• 12:44
  Speaker 2: Right absolutely, I mean, and that's what Kubrick was a
• 12:50
  Speaker 2: master doing, is like affecting the subconscious layer of the viewer,
• 12:58
  Speaker 2: and that's a big reason for a lot of these
• 13:01
  Speaker 2: continuity errors within the Shining, it's too affect the subconscious
• 13:08
  Speaker 2: layer of the mind as the viewers watching the movie,
• 13:11
  Speaker 2: So the viewer slowly starts to question their reality just
• 13:16
  Speaker 2: as Jack is starting to question his reality within the
• 13:19
  Speaker 2: movie as well.
• 13:21
  Speaker 1: Hey, yeah, because the continuity sort of fragments, fragments the
• 13:26
  Speaker 1: movie a bit, and that's what we're going to be
• 13:28
  Speaker 1: talking about, the fragmenting of the mind, right yeah, and.
• 13:32
  Speaker 2: All the symbolism within there, the foreshadowing the Cube breakup
• 13:36
  Speaker 2: puts in there, which is just unbelievable foreshadowing that goes
• 13:40
  Speaker 2: over the top of a lot of people's heads. And
• 13:45
  Speaker 2: once you see it in this way, like once you've
• 13:49
  Speaker 2: watched our documentary A Clockwork Shining, you will see this
• 13:55
  Speaker 2: in a completely new light. You won't be able to
• 13:58
  Speaker 2: see the Shining in different way because all the things
• 14:02
  Speaker 2: that we point out within the Shining, it all makes
• 14:07
  Speaker 2: sense and it all connects in together. And once you
• 14:10
  Speaker 2: see one thing, the entire movie starts to become about this.
• 14:14
  Speaker 2: And you know, Kubrick, this was and this is really
• 14:19
  Speaker 2: the most strange part of the entire movie. You really,
• 14:23
  Speaker 2: I believe personally, is in the first ten minutes of
• 14:26
  Speaker 2: The Shining because within the first ten minutes of The
• 14:28
  Speaker 2: Shining You, Stuart Ollman, which looks a lot like JFK. Kubrick,
• 14:36
  Speaker 2: put him there on purpose. He basically explains to Jack
• 14:42
  Speaker 2: the entire plot of the movie, everything that's going to
• 14:44
  Speaker 2: happen after that. He says, this isn't a physically demanding job.
• 14:48
  Speaker 2: This is more of a psychological job. This is a
• 14:50
  Speaker 2: mental job. You got to be up here. You're isolated,
• 14:53
  Speaker 2: and we know how isolation works on people. It's a
• 14:57
  Speaker 2: classic mind control technique. You got the Cube Counterintelligence Manual.
• 15:01
  Speaker 2: It's a book that you can read about how the
• 15:04
  Speaker 2: CIA would essentially torture people to get information out of them,
• 15:08
  Speaker 2: and a lot of that had to do with sensory
• 15:10
  Speaker 2: deprivation and isolation. And then Almond goes on to explain
• 15:16
  Speaker 2: that the previous caretaker at the Overlook Hotel was named
• 15:23
  Speaker 2: Charles Grady, and that he had killed his wife and
• 15:28
  Speaker 2: two daughters at the hotel. So he's explaining everything that's
• 15:32
  Speaker 2: going to happen to Jack in that first ten minutes
• 15:36
  Speaker 2: of the movie, and then people really overlook when they're watching.
• 15:41
  Speaker 2: They probably think that it's kind of boring because it
• 15:43
  Speaker 2: is just ten minutes of just straight dialogue in the
• 15:45
  Speaker 2: beginning of the movie. But I really think that they
• 15:49
  Speaker 2: overlook that entire part of the movie in general, that
• 15:54
  Speaker 2: we really bring to the forefront in our documentary.
• 16:00
  Speaker 1: Yeah, yeah, totally. And it's filmed in a way that
• 16:02
  Speaker 1: it doesn't look like it's too meaningful. So I guess,
• 16:05
  Speaker 1: like you say, people just don't take a lot of
• 16:08
  Speaker 1: that in and giving much attention, and they sort of
• 16:10
  Speaker 1: focus on, you know, once they get to the hotel, right,
• 16:14
  Speaker 1: I mean, even Jack Nicholson, you know his character, you
• 16:18
  Speaker 1: know before that they move in. After watching your I mean,
• 16:23
  Speaker 1: like I said, it's the first time I've seen it,
• 16:25
  Speaker 1: but after watching your docco there's definitely signs that, you know,
• 16:29
  Speaker 1: he's not quite stable, shall we say.
• 16:33
  Speaker 2: Yeah, And that's another thing about Stanley Kubrick as well
• 16:37
  Speaker 2: as like the actors in Stanley Kubrick's movies, he Stanley
• 16:43
  Speaker 2: Kubrick either makes them a great actor and they go
• 16:46
  Speaker 2: along to be very successful in film and in movies
• 16:49
  Speaker 2: and in Hollywood, or he completely crushes their career, completely
• 16:52
  Speaker 2: destroys them. And there's a lot of references between real
• 16:57
  Speaker 2: life and Kubrick's movies as well. There's you know, they're
• 17:03
  Speaker 2: echoing each other. Like with the Clockwork Orange that came out.
• 17:06
  Speaker 2: It was banned in the UK because in the UK
• 17:09
  Speaker 2: there was like crime was rising, there was murders. That
• 17:14
  Speaker 2: was the surrounded Clockwork Orange coming out in theaters. So
• 17:19
  Speaker 2: CUBRIC ended up pulling the movie from the UK and
• 17:22
  Speaker 2: several other countries. And then with Lolita that we bring
• 17:26
  Speaker 2: up in our documentary as well, with Sue Lyon, which
• 17:29
  Speaker 2: is the main actor in the movie Lolita, the thing
• 17:36
  Speaker 2: that the movie is about, which the movie is essentially
• 17:38
  Speaker 2: about pedophilia, is happening to Sue Lyon on the set
• 17:43
  Speaker 2: while she's making the movie in real life by James B.
• 17:49
  Speaker 2: Harris Kubrick's production, his producer is doing the same thing
• 17:56
  Speaker 2: to Sue lion as that she's playing a role in
• 17:59
  Speaker 2: in Lolita. It's unbelievable. And also with the Shining and
• 18:04
  Speaker 2: Shelley Duvall, like that ruined Sue Lyon's career. She didn't
• 18:08
  Speaker 2: do anything after Lolita, and she was fourteen years old
• 18:12
  Speaker 2: at the time. In the filming of that movie, and
• 18:16
  Speaker 2: with the Shining and Shelley Duval, Kubrick was traumatizing Shlley
• 18:19
  Speaker 2: Duvall to such a degree that which we have it
• 18:23
  Speaker 2: in the documentary. I'm sure you remember the scene the
• 18:25
  Speaker 2: interview with Shelley Duval, which is like, I don't understand
• 18:28
  Speaker 2: why Kubrick was doing this to me? How can he
• 18:31
  Speaker 2: be doing this to me? You know, And it's really
• 18:34
  Speaker 2: traumatizing Shelley Duval. So it's Kubrick's not only doing an
• 18:38
  Speaker 2: experiment on the audience, He's also doing an experiment while
• 18:42
  Speaker 2: he's making the movie on the actors within the movie.
• 18:46
  Speaker 2: And then he's also doing another experiment as he's rewriting
• 18:49
  Speaker 2: the movie as he's making the movie. He's rewriting the
• 18:54
  Speaker 2: script as he's making the entire movie. And you know,
• 18:57
  Speaker 2: as like anybody that is involved with film to like
• 19:01
  Speaker 2: that degree, you know, as like a director or like
• 19:04
  Speaker 2: a filmmaker or anyone has done anything with film, you
• 19:08
  Speaker 2: got to make sure your script is completely written before
• 19:10
  Speaker 2: you even go into production. Like that's just a giving.
• 19:15
  Speaker 2: But we also talk about in the movie how that
• 19:19
  Speaker 2: it's a high possibility that Kubrick was given The Shining
• 19:24
  Speaker 2: by Warner Brothers because Warner Brothers had a pre published
• 19:27
  Speaker 2: copy of Stephen King's novel The Shining and it's a
• 19:31
  Speaker 2: high possibility that Kubrick was kind of pushed to make
• 19:34
  Speaker 2: The Shining because his movie that he had come out
• 19:37
  Speaker 2: with previously, which was Barry Lyndon, was not a success.
• 19:40
  Speaker 2: It wasn't a critical success, It lost a lot of money,
• 19:42
  Speaker 2: the audience didn't like it. So they it's you know,
• 19:45
  Speaker 2: theorize that Warner Brothers kind of pushed him to make
• 19:50
  Speaker 2: his next movie based off of Stephen King's novel because
• 19:53
  Speaker 2: they had already had a tremendous success with a A
• 19:57
  Speaker 2: list director, you know, directing, and make the film adaptation
• 20:01
  Speaker 2: of another horror novel, which was The Actressist, which was
• 20:04
  Speaker 2: directed by William Freaking. And so it's, uh, you know,
• 20:09
  Speaker 2: we kind of put together there. Maybe this was Warner
• 20:12
  Speaker 2: Brothers idea, and maybe Kubrick turned in a script to
• 20:16
  Speaker 2: Warner Brothers that was more in line with Stephen King's novel,
• 20:20
  Speaker 2: and then as he was filming the movie, he was
• 20:24
  Speaker 2: rewriting the entire movie to make it to exactly the
• 20:26
  Speaker 2: way that he wanted it to be.
• 20:31
  Speaker 1: Yeah, his message across and I guess that's another question.
• 20:36
  Speaker 1: Was it his message or was it a message he
• 20:38
  Speaker 1: was he was told to get across by other agencies.
• 20:41
  Speaker 1: How he's say, because he's got ties obviously to you know,
• 20:45
  Speaker 1: some three letter agencies, hasn't it from from the US?
• 20:49
  Speaker 2: Yes. During the filming of Doctor Strange Love, which is
• 20:53
  Speaker 2: basically about you know, nuclear devastation, you know, dropping nuclear bombs,
• 21:01
  Speaker 2: which revolved sort of around the Cold War, Kubrick wanted
• 21:06
  Speaker 2: to recreate the inside of a B two stealth bomber
• 21:09
  Speaker 2: and he asked permission from the military to get for
• 21:13
  Speaker 2: them to show him what the inside of a B
• 21:15
  Speaker 2: two stealth bomber so he could get it accurate. Well,
• 21:17
  Speaker 2: the military wouldn't let him see because it was classified
• 21:21
  Speaker 2: at that time, and if any other country were to
• 21:24
  Speaker 2: get that information, then they could duplicate it and recreate
• 21:27
  Speaker 2: it and then they would have, you know, the secrets
• 21:29
  Speaker 2: would be revealed. So the military said no. So then
• 21:32
  Speaker 2: Kubrick went to his production designer and was like, Hey,
• 21:34
  Speaker 2: what are we going to do here? We give the
• 21:37
  Speaker 2: military won't let us, you know, see the inside of
• 21:39
  Speaker 2: this craft. So then his production designer started cutting out
• 21:42
  Speaker 2: all of these magazines and manuals and newspapers to try
• 21:46
  Speaker 2: and figure out what the inside of a B two
• 21:48
  Speaker 2: stealth bomber looked like, and then they built their set.
• 21:51
  Speaker 2: When they built their set, the military actually came and
• 21:53
  Speaker 2: visited Stanley Kubrick on the set of Doctor Strange Love
• 21:56
  Speaker 2: and was like blown back and shocked by how accurate
• 22:02
  Speaker 2: they made the set of the B two Stealth bomber
• 22:05
  Speaker 2: as to what the inside of a real B two
• 22:09
  Speaker 2: Stealth bomber looked like. And they thought that Kubrick had
• 22:12
  Speaker 2: leaked this gotten somehow, like someone high up in the
• 22:15
  Speaker 2: military had leaked this information to Stanley Kubrick. And we
• 22:19
  Speaker 2: have Kubrick's production designer in the movie talking about this
• 22:22
  Speaker 2: and how Kubrick told him, all, well, you better have
• 22:25
  Speaker 2: all your ducks in a row here and know exactly
• 22:28
  Speaker 2: how you made got this information about how you built
• 22:32
  Speaker 2: the inside of a B two stealth bomber without actually
• 22:34
  Speaker 2: knowing what the inside of a B two Stealth bomber
• 22:36
  Speaker 2: looks like, or we're going to be investigated by the FBI. Then,
• 22:41
  Speaker 2: also at the original credits at the end of two
• 22:44
  Speaker 2: thousand and one A Space Odyssey, kubric thinked all of
• 22:48
  Speaker 2: these intelligence communities, the military, Air Force intelligence, Langley, Virginia,
• 22:54
  Speaker 2: all of these big time intelligence communities and the military
• 22:58
  Speaker 2: and all government contractors, DARPA like all these people and
• 23:04
  Speaker 2: cubric is what essentially happened was the military saw that,
• 23:08
  Speaker 2: well someone from the military saw the ending credits and
• 23:11
  Speaker 2: was like, hey, you can't be putting the names of
• 23:14
  Speaker 2: our agencies that we were a part of this production,
• 23:16
  Speaker 2: or that we were anyway whatsoever involved with the production
• 23:20
  Speaker 2: of this movie. But then we also show in the
• 23:23
  Speaker 2: documentary how since then, through for you request that people
• 23:27
  Speaker 2: have put in that the military and the government has
• 23:31
  Speaker 2: been involved in the production of several movies since then,
• 23:36
  Speaker 2: the Transformers movies Die another Day, They've all been involved
• 23:39
  Speaker 2: in the production of all those movies. So it's kind
• 23:42
  Speaker 2: of come to light now. But back then when Doctor
• 23:45
  Speaker 2: Strange Love in two thousand and one Space Odyssey was
• 23:47
  Speaker 2: being made, it was more of like a hush hush thing.
• 23:51
  Speaker 2: Then we also have in the documentary too, which is
• 23:55
  Speaker 2: a smoking gun evidence that Kubrick was indeed working for
• 24:03
  Speaker 2: the government, which we have a document that shows that
• 24:06
  Speaker 2: he was being looked at for, you know, some kind
• 24:10
  Speaker 2: of unknown project. And I actually have a trailer here
• 24:13
  Speaker 2: for our documentary that I want to play really quickly,
• 24:18
  Speaker 2: so it gives you, guys, a better idea of what's
• 24:22
  Speaker 2: going on here.
• 24:25
  Speaker 3: Hallucinogenic drugs, hypnosis, electric shocks to the brain some of
• 24:32
  Speaker 3: the methods used in secret CIA mind control experiments.
• 24:36
  Speaker 2: There are many theories as to what the shining is
• 24:39
  Speaker 2: really about, from the faking of the moon landing to
• 24:42
  Speaker 2: Native American genocide and the Holocaust.
• 24:45
  Speaker 4: Now, if he did fake the Apollogon landing, then he
• 24:47
  Speaker 4: probably has really deep connections into the intelligence world. Why
• 24:53
  Speaker 4: are there these gigantic continuity errors in this movie?
• 24:57
  Speaker 5: The occulted meeting has to be comprehensible. It's just hidden,
• 25:01
  Speaker 5: usually in a very systematic way, so that it could
• 25:05
  Speaker 5: be understood by someone coming along later on, who knows
• 25:08
  Speaker 5: what the real meaning is supposed to be.
• 25:10
  Speaker 2: We believe that there's something even more sinister lurking beneath
• 25:14
  Speaker 2: the surface of this masterful film.
• 25:17
  Speaker 4: So Lookout Mountain Hotel looked a lot like the Overlook Hotel.
• 25:22
  Speaker 6: You realize there's no such thing as coincidences like that.
• 25:27
  Speaker 2: As Lookout Mountain studios ran by the Air Force and
• 25:30
  Speaker 2: told the story of nuclear weapons testing by the United
• 25:33
  Speaker 2: States of the Army Navan Air Force.
• 25:37
  Speaker 3: The Air Force was known to be the most excited
• 25:40
  Speaker 3: the most turned on by mk ultran its prospects.
• 25:43
  Speaker 6: Reportedly, there were more films might at Lookout Mounting than
• 25:49
  Speaker 6: at all the other film studios in Hollywood.
• 25:53
  Speaker 4: We really don't know what these famous film directors were
• 25:56
  Speaker 4: being recruited for. What project or whatever was it?
• 25:59
  Speaker 1: The Moonland.
• 26:03
  Speaker 2: The CIA's mk Ultra programs were admitted to the public
• 26:07
  Speaker 2: in nineteen seventy, five, years before the release of The Shining.
• 26:13
  Speaker 1: These experiments were done without the informed consent of the patients.
• 26:18
  Speaker 5: Look at some UFO cases and the things that are
• 26:21
  Speaker 5: reported tells me that.
• 26:23
  Speaker 2: MK Ultra is likely being applied.
• 26:26
  Speaker 7: My mk Ultra mind control experience, I was taken to
• 26:30
  Speaker 7: various military, NASA and DARPA installations for sophisticated mind control programming.
• 26:40
  Speaker 6: Woke Disney, Marilyn Monroe, James Stewart, Carrie Groan, Ronald Reagan.
• 26:48
  Speaker 6: Nobody really knows what they were doing.
• 26:50
  Speaker 2: Up there, as well as high ranking military and Department
• 26:53
  Speaker 2: of Defense personnel.
• 26:54
  Speaker 4: But people don't realize is that many of the people
• 26:57
  Speaker 4: that worked with Kubrick also worked with This is actually
• 27:01
  Speaker 4: the smoking gun proving that Kubrick was working with the government.
• 27:05
  Speaker 6: These were all CIA sponsored experiments.
• 27:09
  Speaker 2: I said, I'm not gonna hurt you. I'm just gonna
• 27:12
  Speaker 2: bash your brains.
• 27:14
  Speaker 6: And I'm putting little symbolic cryptic clues and easter eggs
• 27:20
  Speaker 6: pertaining to the fact that they're still doing it.
• 27:22
  Speaker 2: These clues include a hidden swastika in the background of
• 27:27
  Speaker 2: the old room.
• 27:29
  Speaker 7: What was the set up? What it was being told?
• 27:32
  Speaker 7: And realized that it was a lie all along, But.
• 27:36
  Speaker 6: Right there in the narrative in the dialogue, they're telling
• 27:39
  Speaker 6: you that this was a very real program coming out
• 27:43
  Speaker 6: those nice folks in the CIA years.
• 28:02
  Speaker 8: Johnny, So that was a little trailer to give you
• 28:15
  Speaker 8: guys a better idea of what the movie is about.
• 28:21
  Speaker 1: That's yeah, I mean Mark Devlin, like, that's some interesting
• 28:24
  Speaker 1: comments too with the music industry and how you know
• 28:27
  Speaker 1: we know from the sixties and Laurel Canyon. They're all
• 28:30
  Speaker 1: children of basically the military, Air Force, Navy, you know,
• 28:36
  Speaker 1: the defense force, aren't they, which which, as far as
• 28:39
  Speaker 1: I can tell, like war is one of the biggest
• 28:42
  Speaker 1: mind control MK ultrue devices there is, right trauma based
• 28:46
  Speaker 1: mind control. So there's a lot there's just a lot
• 28:51
  Speaker 1: of connections in the doco. It's really well done and
• 28:53
  Speaker 1: it's it's it covers a very wide range of things,
• 28:57
  Speaker 1: so definitely worth checking out. Guys, we'll leave the link
• 28:59
  Speaker 1: the law, I say, can go and have a look
• 29:01
  Speaker 1: at it.
• 29:03
  Speaker 2: Yeah, that's a big thing for me as well. As
• 29:06
  Speaker 2: I was making the movie, I was like, holy crap,
• 29:08
  Speaker 2: this is like the reason why it doesn't matter. You
• 29:11
  Speaker 2: can be the best singer in the world, you can
• 29:12
  Speaker 2: be the best musician in the world, it doesn't matter
• 29:14
  Speaker 2: if you don't have the right connections, you don't have
• 29:16
  Speaker 2: the right people behind you. And that's a big thing
• 29:18
  Speaker 2: that Mark Dellon brings into this documentary is that through
• 29:21
  Speaker 2: his research he's discovered that all these big bands came
• 29:25
  Speaker 2: up in the sixties all had high ranking military connections.
• 29:30
  Speaker 2: Their fathers were all high ranking military personnel. There wasn't
• 29:35
  Speaker 2: anybody that had normal jobs, which is that's not a coincidence.
• 29:41
  Speaker 2: You would you wouldn't find somebody that was an electrician
• 29:45
  Speaker 2: or a plumber, or a taxi driver or you know,
• 29:50
  Speaker 2: a trash man, a garbage man. You know, they're all there.
• 29:54
  Speaker 2: Their fathers are all high ranking military officers. And one
• 29:59
  Speaker 2: of those, the the biggest one is Jim Morrison of
• 30:02
  Speaker 2: The Doors. His dad was responsible for the Gulf of
• 30:06
  Speaker 2: Tonkin false flag incident that got us into the Vietnam
• 30:09
  Speaker 2: War that killed thousands of people. Bob Marley's father was
• 30:13
  Speaker 2: also a British naval commander. Sharon Tate's dad was a
• 30:21
  Speaker 2: high ranking military officer. And these people are actors. We
• 30:24
  Speaker 2: show a clip from a Florida State University commercial with
• 30:31
  Speaker 2: Jim Morrison in it, like two years before all this
• 30:34
  Speaker 2: stuff happens with the Doors, and he's clean shaven, he's
• 30:38
  Speaker 2: clean cut, and he's an actor. But that's the way
• 30:41
  Speaker 2: that it is with a lot of these people. Tupac
• 30:43
  Speaker 2: is the same way. Tupac is an actor, was an
• 30:46
  Speaker 2: actor like these people are. I mean, Britney Spears the
• 30:51
  Speaker 2: same exact way. And I'm actually having a Britney Spears
• 30:53
  Speaker 2: body double on my show this weekend. On Saturday. She
• 30:58
  Speaker 2: was the body alb for Britney Spears and the music
• 31:02
  Speaker 2: video womanized.
• 31:04
  Speaker 1: That's not Julia, Is that Julia?
• 31:07
  Speaker 2: Yes?
• 31:08
  Speaker 1: Yeah, okay, interesting.
• 31:10
  Speaker 2: Yeah. But she reached out to me. I had met
• 31:12
  Speaker 2: her a couple of times before, we had met in
• 31:16
  Speaker 2: person at some conferences, and she had reached out to
• 31:19
  Speaker 2: me because she watched the documentary and she was like Hey,
• 31:22
  Speaker 2: Like I was Britney Spears's body double. It's like what, well,
• 31:25
  Speaker 2: one like why why does Britney Spears need a body double?
• 31:29
  Speaker 2: You know? And then she was also telling me a
• 31:31
  Speaker 2: lot of very interesting things like where the music video
• 31:35
  Speaker 2: was filmed that, like yes, yeah, thats what was going
• 31:41
  Speaker 2: on here? Why why? Why is this a thing? But yeah,
• 31:45
  Speaker 2: I'm having her on on on Saturday on my show
• 31:49
  Speaker 2: on uh Raised by Grants. You can get that on
• 31:51
  Speaker 2: YouTube running and all whitecast platforms. And then, like all
• 31:58
  Speaker 2: these people were also really shocking as well when you
• 32:02
  Speaker 2: realize that the CIA was basically responsible for the entire
• 32:06
  Speaker 2: hippie movement. They started that entire culture of people, and
• 32:10
  Speaker 2: then they had to kind of squash it out and
• 32:12
  Speaker 2: destroy it with the Manson tape murders, which worked out
• 32:16
  Speaker 2: nicely in their fever because then they just incorporated murder
• 32:20
  Speaker 2: and serial killers and colts all into the movement and
• 32:23
  Speaker 2: it kind of disbanded the entire hippie movement, which was
• 32:27
  Speaker 2: created to destroy the anti war movement.
• 32:30
  Speaker 1: So they created a monster and they were.
• 32:32
  Speaker 2: Like, holy shit, what do we do about this this
• 32:34
  Speaker 2: thing that we've created? Well, I know what we'll do.
• 32:36
  Speaker 2: We'll we're trying to involve murder and serial killers and cults,
• 32:40
  Speaker 2: and we'll infiltrate it in that way. And then when
• 32:43
  Speaker 2: that happened in nineteen sixty nine, the hippie movement was over.
• 32:47
  Speaker 2: At that point. It was like the Nail and the
• 32:50
  Speaker 2: very quickly.
• 32:51
  Speaker 1: Yeah. Yeah, many people might not know that Charles Manson
• 32:56
  Speaker 1: was Actually it was in the music industry, you know,
• 33:01
  Speaker 1: he was up part of Laurel Canyon. And something I
• 33:03
  Speaker 1: didn't know that I learned from the doctor was so
• 33:05
  Speaker 1: was Jack Nicholson. And he was in some of these
• 33:07
  Speaker 1: early hippie movies and things. So there's a lot of connections, man.
• 33:13
  Speaker 2: A lot. And yeah, he was in several of the
• 33:17
  Speaker 2: hippie LSD movies. He was in the Monkeys movie Head,
• 33:21
  Speaker 2: he was in Chinatown, which Chinatown was written in made
• 33:26
  Speaker 2: by Roman Polanski, and then Roman Polanski actually raped a
• 33:30
  Speaker 2: thirteen year old girl at Jack Nicholson's house and then
• 33:33
  Speaker 2: he fled the country to avoid prosecution. And then at
• 33:37
  Speaker 2: that exact same time, Jack Nicholson also left the country
• 33:40
  Speaker 2: to go to England to shoot the Shining. So there's
• 33:43
  Speaker 2: so many different rabbit holes that we go down in
• 33:47
  Speaker 2: this movie and like I was mentioning, if you don't
• 33:49
  Speaker 2: like even if you don't like Stanley Peper, if you've
• 33:51
  Speaker 2: never seen The Shining, like you had never seen The
• 33:54
  Speaker 2: Shining before, I don't think that it really mattered, because
• 33:57
  Speaker 2: there's so many different things within our movie Clockwork Shining
• 34:01
  Speaker 2: that that people can enjoy and hopefully find out things
• 34:06
  Speaker 2: that they didn't know about before. But I definitely want
• 34:10
  Speaker 2: to get into these slides because this really flushes out
• 34:14
  Speaker 2: the entire hold on, let me get it, flushes out
• 34:17
  Speaker 2: the entire stuf and a lot of this stuff isn't
• 34:19
  Speaker 2: even in our movie. So you guys are getting a
• 34:22
  Speaker 2: special treat with a lot of these slides. Okay, that's
• 34:29
  Speaker 2: stop one boom. Can you see it?
• 34:33
  Speaker 1: Yep? All good?
• 34:35
  Speaker 2: Cool? Okay. So, as I was watching The Shining over
• 34:40
  Speaker 2: and over again, I was, you know, finding things that
• 34:43
  Speaker 2: people hadn't seen before. And one of the first things
• 34:46
  Speaker 2: that I found that absolutely no one has ever seen before,
• 34:49
  Speaker 2: and if they tell you that they've seen it before,
• 34:50
  Speaker 2: they're definitely lying, which is when Jack stands up from
• 34:55
  Speaker 2: the bar, there's a lady that walks past that has
• 34:59
  Speaker 2: a what looks like a bloody handprint on the back
• 35:03
  Speaker 2: of her dress. Now people have come after me and
• 35:06
  Speaker 2: try to say this isn't really a bloody handprint, that
• 35:08
  Speaker 2: it's a part of the dress. Blah blah blah blah blah. Regardless,
• 35:11
  Speaker 2: it looks like a bloody handprint, regardless if it was
• 35:13
  Speaker 2: a part of the dress or a part of the design.
• 35:16
  Speaker 2: Doesn't have to be that someone actually put their bloody
• 35:18
  Speaker 2: handprint on the back of her dress. It could be
• 35:20
  Speaker 2: a part of the dress, doesn't really matter. Regardless, it
• 35:24
  Speaker 2: looks like a bloody handprint. And what this handplant really resembles.
• 35:29
  Speaker 2: Whenever you see this, you probably think of another movie
• 35:32
  Speaker 2: that almost had this identical thing that happened two decades later,
• 35:37
  Speaker 2: which is Castaway with Tom Hanks. Yeah, same type of
• 35:44
  Speaker 2: handprint on the volleyball in the year of two thousand
• 35:49
  Speaker 2: when Castaway came out. It's almost identical.
• 35:55
  Speaker 1: And yeah, we all know a bit more about Tom
• 35:58
  Speaker 1: Hanks last couple of years too, don't we.
• 36:01
  Speaker 2: Man, We can get down and dirty with some uh
• 36:04
  Speaker 2: with some Tom Hanks stuff. There. He's been he's been
• 36:08
  Speaker 2: put through the ringer there. But uh. I put this
• 36:11
  Speaker 2: as an example because people were like, oh, well, why
• 36:15
  Speaker 2: does it only have four four fingers on the hamper,
• 36:18
  Speaker 2: which that could be related to, you know, some occult
• 36:21
  Speaker 2: things and demonic activity as well. But this proves that
• 36:26
  Speaker 2: a bloody handprint can be four fingers because that's the
• 36:29
  Speaker 2: fore finger bloody handprint that's on the Wilson volleyball whenever
• 36:33
  Speaker 2: Tom Hanks accidentally cuts open his hand while he's trying
• 36:36
  Speaker 2: to start a fire and leaves his handprint on the volleyball.
• 36:40
  Speaker 2: So yeah, bloody handprints, handprints can't be four fingers, okay.
• 36:46
  Speaker 1: And that that volleyball then develops a personality. It becomes
• 36:51
  Speaker 1: a being in the movie pretty much another character, so
• 36:55
  Speaker 1: you know that sort of as well points towards you know,
• 36:59
  Speaker 1: mind fracturing and lawn and control and those kind of things.
• 37:03
  Speaker 2: Absolutely it does. I mean, it can relate to a
• 37:06
  Speaker 2: lot of things.
• 37:06
  Speaker 6: You can.
• 37:09
  Speaker 2: Human trafficking like everything you can get in and can
• 37:12
  Speaker 2: go so many different ways with it. But there's also
• 37:14
  Speaker 2: light switches that disappear within the Shining whenever Hollerin is
• 37:18
  Speaker 2: giving a tour to Danny and Windy in the beginning
• 37:20
  Speaker 2: of the movie, there is a light switch that's beside
• 37:23
  Speaker 2: the storage room, which we also talk about in the movie.
• 37:27
  Speaker 2: It sounds like Hollerin says story room, not storage room,
• 37:31
  Speaker 2: which is super interesting that the set up and the
• 37:33
  Speaker 2: foreshadowing of the scene by Hollerin in the beginning of
• 37:38
  Speaker 2: the movie, and then when Windy is dragging Jack's body
• 37:42
  Speaker 2: after she hits him over the head with the baseball bat,
• 37:46
  Speaker 2: the light switch right here is completely gone. It's not
• 37:50
  Speaker 2: there anymore. And it's the same exact set because up
• 37:54
  Speaker 2: here at the top with Hollerin or my cursor is
• 37:58
  Speaker 2: says it has the ending of the chef's office, and
• 38:01
  Speaker 2: you see the word office, and then right down here
• 38:03
  Speaker 2: says chef's office. So it's the exact same set with
• 38:07
  Speaker 2: a light switch missing. There's another one where light switches
• 38:11
  Speaker 2: will appear. So whenever Jack is first going up to
• 38:14
  Speaker 2: the hotel to do the interview with Almon and Bill Watson,
• 38:19
  Speaker 2: there isn't a light switch underneath this picture over here,
• 38:25
  Speaker 2: But later in the movie, whenever Jack goes into the
• 38:28
  Speaker 2: Almond's office to destroy the radio, there's magically a set
• 38:33
  Speaker 2: of light switches right there under the picture. It's wild.
• 38:40
  Speaker 2: Then this one I mentioned, I think did I mention
• 38:44
  Speaker 2: this one already with you with the Hedgemates anyway, regardless
• 38:47
  Speaker 2: of it did or not. But in the beginning establishing
• 38:50
  Speaker 2: shot of the Overlook Hotel within the movie The Shining,
• 38:55
  Speaker 2: you can't see a hedge maze in the background. You
• 38:59
  Speaker 2: there's no hedge mays, But later on in the film,
• 39:01
  Speaker 2: obviously there's a hedge hedge mase. It's a crucial part
• 39:05
  Speaker 2: of the entire movie, is the hedgemes. Now people can
• 39:10
  Speaker 2: say that this was you know, there isn't a hedge
• 39:13
  Speaker 2: maze at Timberline Lodge where the exterior shots of The
• 39:16
  Speaker 2: Shining was shot, which there isn't. There isn't one at
• 39:21
  Speaker 2: the Stanley Hotel in Colorado either, though they have included
• 39:25
  Speaker 2: one since this movie's out in the front part of
• 39:29
  Speaker 2: the hotel. But it's still a continuity are within the
• 39:32
  Speaker 2: movie because in the establishing shot it's not there, but
• 39:37
  Speaker 2: then later on it is there, So regardless, it's still
• 39:40
  Speaker 2: a connuity air. This one's really interesting what other people
• 39:45
  Speaker 2: have pointed out that Jack's tie in The Shining, when
• 39:50
  Speaker 2: we first meet Jack and he's sitting down, his tie
• 39:55
  Speaker 2: looks almost the identical pattern as the hedgemames, which is
• 40:01
  Speaker 2: another foreshadowing type of event that Kubrick does throughout the movie,
• 40:08
  Speaker 2: and there's other ones that he does as well, but
• 40:12
  Speaker 2: we're also going to get into. But this one's just
• 40:14
  Speaker 2: really interesting, which is set up for that amazing shot
• 40:18
  Speaker 2: where Jack is going to look at the model of
• 40:21
  Speaker 2: the maze and then the inside of the hotel turns
• 40:25
  Speaker 2: into the outside exterior shot of Danny and Wendy in
• 40:28
  Speaker 2: the maze. This one is one that people have seen
• 40:33
  Speaker 2: a lot of, which we also have in our movie.
• 40:34
  Speaker 2: Talking about the sticker that disappears on Danny's door, There's
• 40:40
  Speaker 2: a sticker of Dopey the Dwarf from the Seven Dwarfs,
• 40:43
  Speaker 2: and it's there whenever we see Danny in the bathroom,
• 40:47
  Speaker 2: and then later on, whenever the doctor comes to examine Danny,
• 40:51
  Speaker 2: the sticker is gone. There's another foreshadowing event that we're
• 40:55
  Speaker 2: going to get into later on that revolves around this
• 40:58
  Speaker 2: scene as well with the doctor. There's actually two of them.
• 41:03
  Speaker 2: This one is really interesting because whenever Wendy is talking
• 41:07
  Speaker 2: to the doctor about whenever this is a dialogue error,
• 41:12
  Speaker 2: whenever when he's talking to the doctor about how you know,
• 41:16
  Speaker 2: when Danny got abused, and then he start having these
• 41:19
  Speaker 2: visions and these you know, psychic abilities, though they don't
• 41:23
  Speaker 2: specifically say psychic abilities. She tells the doctor that it's
• 41:28
  Speaker 2: been five months since Danny was abused, and it's been
• 41:33
  Speaker 2: in Jack stopped drinking, so Jack has been sober for
• 41:36
  Speaker 2: five months. But then later on, when Jack is explaining
• 41:40
  Speaker 2: the to the event to Lloyd the bartender, and he's
• 41:45
  Speaker 2: confessing to Lloyd that he did in fact hurt Danny,
• 41:49
  Speaker 2: he says that it was three years ago. So this
• 41:53
  Speaker 2: is a really big continuity dialogue error within the movie.
• 41:57
  Speaker 2: Wendy's saying that it was by that he's been so
• 42:00
  Speaker 2: for five months after he injured Danny's arm, and then
• 42:02
  Speaker 2: when Jack is talking to Lloyd, he says that that
• 42:05
  Speaker 2: it happened three years ago. This is one that the
• 42:10
  Speaker 2: other people have pointed out, which is the kool aid
• 42:12
  Speaker 2: on top of the refrigerator in Windy and Jack's apartment
• 42:17
  Speaker 2: in Boulder, Colorado, which the kool aid could be reference
• 42:21
  Speaker 2: to the Jim Jones event that happened just two years
• 42:25
  Speaker 2: while this movie was actually being filmed. It was happening,
• 42:28
  Speaker 2: you know, the Jim Jones event with the kool aid
• 42:32
  Speaker 2: where they all, you know, drink the kool aid and
• 42:36
  Speaker 2: passed away. Yeah, yeah, this one is a really interesting one,
• 42:41
  Speaker 2: which is a clear plastic tarp that can be seen
• 42:45
  Speaker 2: as Danny is writing his tricycle through the hotel. It's
• 42:50
  Speaker 2: just a small, small one there, but it looks like
• 42:53
  Speaker 2: a plastic set tarp that is in the shot of
• 42:58
  Speaker 2: Danny there. This one's another one of the people have
• 43:01
  Speaker 2: seen and pointed out several times that is also in
• 43:03
  Speaker 2: our documentary, which is the chair that disappears and then
• 43:07
  Speaker 2: reappears between the shots when Wendy is going up to
• 43:10
  Speaker 2: talk to Jack in the lobby of the hotel where
• 43:14
  Speaker 2: he's writing his book. The shot is on Jack. There's
• 43:17
  Speaker 2: a chair and a coffee table right up here, and
• 43:20
  Speaker 2: then the next shot is of Wendy, and then when
• 43:23
  Speaker 2: it comes back to Jack, the chair in the coffee
• 43:26
  Speaker 2: table is gone, and then it goes back to Wendy
• 43:29
  Speaker 2: and then he goes. When the shot goes back to Jack,
• 43:32
  Speaker 2: it reappears again. The chair in the coffee table is
• 43:36
  Speaker 2: there again. It's the mysterious case of the disappearing and
• 43:39
  Speaker 2: reappearing chair and coffee table in the background. This was
• 43:46
  Speaker 2: really interesting too, because Almonds says to Jack, you see
• 43:50
  Speaker 2: Jack gets the wrong amount of time. This is another
• 43:54
  Speaker 2: dialogue error within the movie, Jack gets the wrong amount
• 43:57
  Speaker 2: of time that they will be up there at the hotel.
• 44:01
  Speaker 2: He mistakenly says that five months of peace is just
• 44:06
  Speaker 2: what I need, when it's really seven months. The hotel
• 44:10
  Speaker 2: is closed seven months out of the year, open for five,
• 44:15
  Speaker 2: but he says, I'll get five months of piece is
• 44:18
  Speaker 2: just what I need. This is one with that is
• 44:22
  Speaker 2: sexual in the window. There's a lot of sexual in
• 44:24
  Speaker 2: window in the shining. This one is one of the
• 44:28
  Speaker 2: more noticeable ones, which is whenever Jack comes in to
• 44:31
  Speaker 2: shake hands with Almond and introduce himself, there's a paper
• 44:34
  Speaker 2: tray on the desk. This black paper tray right here
• 44:38
  Speaker 2: makes it look like Almond is, you know, getting hard
• 44:43
  Speaker 2: on toward Jack. Another one is a teddy bear in
• 44:47
  Speaker 2: the background of Windy and Danny. The teddy bear has
• 44:51
  Speaker 2: a fire truck next to it. In the fire truck
• 44:53
  Speaker 2: ladder is sticking up, giving the appearance that the teddy bear,
• 45:00
  Speaker 2: how's a heart on. There's a lot of teddy bear
• 45:02
  Speaker 2: symbolism within the movie that we're going to get into
• 45:05
  Speaker 2: here and a few other slides. But also if you
• 45:10
  Speaker 2: look right here, I have it in the next couple
• 45:12
  Speaker 2: of slides, but right next to the Teddy Bear. Here
• 45:15
  Speaker 2: down on the left where the fire truck ladders protruding
• 45:18
  Speaker 2: from the Teddy Bear. This is where Windy picks up
• 45:23
  Speaker 2: the baseball bat. It is right next to the Teddy Bear.
• 45:29
  Speaker 2: And this is a foreshadowing. This is a brand new one.
• 45:32
  Speaker 2: I haven't posted this one. This one's a brand new
• 45:35
  Speaker 2: for your show, Campbell. So in the beginning of the movie,
• 45:41
  Speaker 2: when the doctor is examining Danny, right here on this
• 45:45
  Speaker 2: left panel, there's a curtain right here that is like
• 45:50
  Speaker 2: with like a cartoon character with a baseball bat. And
• 45:55
  Speaker 2: later on, before Drag goes to look at the model
• 45:58
  Speaker 2: of the maze, there's a baseball bat on the couch
• 46:02
  Speaker 2: next to him that he directly looks at. It's in
• 46:04
  Speaker 2: his eyesight. See where this arrow is coming out and
• 46:08
  Speaker 2: coming around and then down. That's in his view. He's
• 46:10
  Speaker 2: looking at the baseball bat on the couch, which is
• 46:14
  Speaker 2: foreshadowing for the events that's going to happen. And then
• 46:17
  Speaker 2: later on Windy picks up the baseball bat off the
• 46:21
  Speaker 2: couch in their apartment upstairs. So just say it's just
• 46:26
  Speaker 2: scattered out throughout the throughout the movie, which is unbelievable
• 46:32
  Speaker 2: foreshadowing and if hard to catch. And there's another one
• 46:36
  Speaker 2: right here that I can move that, but it's going
• 46:41
  Speaker 2: to try and zoom in. But this doll right here
• 46:43
  Speaker 2: where my cursor is. People have said that this looks
• 46:46
  Speaker 2: almost identical to Wendy, Wendy has the same get up
• 46:51
  Speaker 2: with the red, white and blue on, and that it
• 46:53
  Speaker 2: looks like she's holding a baseball bat here, or an
• 46:57
  Speaker 2: axe or maybe this is Jack, you know, holding an
• 47:00
  Speaker 2: axe or whatever this doll. But in this shot it
• 47:06
  Speaker 2: looks like what would be Windy, but it's really a goofy.
• 47:08
  Speaker 2: It's a goofy doll. And later shots you get a
• 47:14
  Speaker 2: better look at it, but it does look like what
• 47:18
  Speaker 2: Wendy is wearing. Within the shining the red, white and blue.
• 47:25
  Speaker 2: This is Wendy finding the baseball bat to strike Jack
• 47:28
  Speaker 2: with on the couch when it was previously downstairs on
• 47:32
  Speaker 2: the couch next to Jack before he looks at the
• 47:34
  Speaker 2: model of the maze. This one's really interesting. This one
• 47:37
  Speaker 2: is when Danny first sees room two thirty seven. Into
• 47:41
  Speaker 2: the right here where the arrow is pointing, there's a
• 47:45
  Speaker 2: door that's closed, But then in the next shot the
• 47:49
  Speaker 2: door is open. This one is the carpet switching patterns.
• 47:57
  Speaker 2: This is another continuity error that other people have pointed
• 48:00
  Speaker 2: now within the Shining when Danny, when the ball rolls
• 48:04
  Speaker 2: to Danny, which is really, honestly one of the only
• 48:09
  Speaker 2: continuity errors, I mean not connuity errors. One of the
• 48:15
  Speaker 2: only paranormal things that really happened throughout the entire movie
• 48:19
  Speaker 2: that is unexplainable is the ball rolling toward Danny. And
• 48:25
  Speaker 2: when it rolls toward Danny, you can see the open
• 48:28
  Speaker 2: facing hexagon shaped copper carpet pattern here, and then in
• 48:33
  Speaker 2: the next shot it's closed facing right down here were there.
• 48:39
  Speaker 1: And that's a huge one because I would have literally
• 48:41
  Speaker 1: had to ring the copper to do that.
• 48:45
  Speaker 2: Either that or cue break just turned him around in
• 48:48
  Speaker 2: the in the scene to the opposite direction. But everything
• 48:53
  Speaker 2: is basically laid out exactly exactly the same. Yeah. This
• 49:02
  Speaker 2: is another foreshadowing about the bears. So when the doctor
• 49:06
  Speaker 2: comes to visit Danny in their apartment in Boulder, he's
• 49:11
  Speaker 2: laying on a stuffed bear. And then later on Windy
• 49:19
  Speaker 2: goes upstairs after she has been traumatized by Jack trying
• 49:24
  Speaker 2: to kill her with an axe. She sees the guy
• 49:27
  Speaker 2: in the bear costume that looks like he's performing a
• 49:31
  Speaker 2: sexual act on this man right here. And when you
• 49:36
  Speaker 2: watch our movie, all of these scenes are really going
• 49:40
  Speaker 2: to make sense. Now you're gonna have to put two
• 49:41
  Speaker 2: and two together of exactly what's going on in this
• 49:45
  Speaker 2: scene because this scene has been used for so much speculation.
• 49:53
  Speaker 2: But I'll just give you a hint here is that
• 49:58
  Speaker 2: none of the things that are happening with in the
• 50:00
  Speaker 2: Overlook are ghost None of them are. It's not paranormal
• 50:05
  Speaker 2: like these people. These people are real people, not the Overlook.
• 50:13
  Speaker 2: So that's all that I'll say about that. You have
• 50:15
  Speaker 2: to watch the movie really understand exactly what's going on.
• 50:19
  Speaker 1: Just a weird seeing that one isn't It's just so
• 50:22
  Speaker 1: just random in the movie.
• 50:25
  Speaker 2: It is. But I wish I could say it because
• 50:28
  Speaker 2: it makes it makes so much, it makes so much sense.
• 50:30
  Speaker 2: But it's just give away the entire.
• 50:35
  Speaker 1: What to do with with the whole MK ultra thing,
• 50:38
  Speaker 1: don't they. I remember reading this book and I'm trying
• 50:41
  Speaker 1: to think of who wrote it. It was a short
• 50:44
  Speaker 1: story and it was actually about this this person that
• 50:48
  Speaker 1: they turned into a into a murderer and the way
• 50:53
  Speaker 1: they did it It was set in the future and every
• 50:55
  Speaker 1: child had a teddy Bear and it would basically give
• 50:58
  Speaker 1: them morals, you know. So when they asked that, you know,
• 51:00
  Speaker 1: the teddy bear, you know, should I do this or that,
• 51:02
  Speaker 1: you know, the teddy bear would teach it morals. And
• 51:05
  Speaker 1: the way they got this person to turn into a
• 51:07
  Speaker 1: killer is they deleted that and there's this scene and
• 51:11
  Speaker 1: the child as the teddy bear, should I kill someone?
• 51:15
  Speaker 1: And the teddy Bear doesn't answer, and so that doesn't
• 51:18
  Speaker 1: get put into its mind, and that's how they create
• 51:22
  Speaker 1: this murderer. I can't remember who wrote it was a
• 51:25
  Speaker 1: short story. It might have been Asimov or someone. But
• 51:30
  Speaker 1: whether it was.
• 51:30
  Speaker 2: A book or a movie, it was a book.
• 51:33
  Speaker 1: It was a short story. I think it was like
• 51:37
  Speaker 1: Asimov or maybe Arthur C. Clark it was. It was
• 51:42
  Speaker 1: in a book of short sort of sci fi type stories.
• 51:45
  Speaker 1: But I read it years and years ago. I just
• 51:49
  Speaker 1: remembered it when you started talking about teddy bears.
• 51:52
  Speaker 2: Oh wow, that's incredible. If you can figure out what
• 51:54
  Speaker 2: the name of that, think about it, yeah, yeah, If
• 51:57
  Speaker 2: you can think about it and figure it out for me,
• 51:59
  Speaker 2: that would be incredible, because you know, the teddy bear
• 52:03
  Speaker 2: has been used as a some kind of symbolic thing
• 52:10
  Speaker 2: for you know, pedophilia.
• 52:13
  Speaker 1: And yeah, and I hear it. Come the name come
• 52:17
  Speaker 1: from Roosevelt. Teddy Roosevelt is where is where they actually
• 52:23
  Speaker 1: started naming them teddy Bears?
• 52:26
  Speaker 2: Oh? Really? Yeah, I don't know that. Oh that's really interesting.
• 52:33
  Speaker 2: Teddy Roosevelt, Teddy Bear. There's a really good Beanie baby movie,
• 52:40
  Speaker 2: the guy that made a tie the ty Beanie Babies.
• 52:44
  Speaker 2: It's not too bad. But this one is something that
• 52:50
  Speaker 2: other people have pointed out that you know, may have
• 52:53
  Speaker 2: something to do with the moon landing, which is tang.
• 52:56
  Speaker 2: Tang was a really big drink for a lot of
• 52:58
  Speaker 2: the Apollo supposedly, of course, right, a lot of the
• 53:03
  Speaker 2: Apollo astronauts, they would use tang to mix with their water,
• 53:12
  Speaker 2: and it was like the astronaut NASA approved drink was Tang.
• 53:18
  Speaker 2: And then you have, of course, the Apollo eleven shirt
• 53:22
  Speaker 2: that Danny is wearing. He stands up in the hallway,
• 53:25
  Speaker 2: He's wearing the Apollo eleven shirt. He then goes into
• 53:28
  Speaker 2: room two thirty seven, which during that time it was
• 53:32
  Speaker 2: rumored that well it wasn't rumored. It was thought that
• 53:36
  Speaker 2: the moon was two hundred and thirty seven thousand miles
• 53:39
  Speaker 2: away from the Earth, and that could have been a
• 53:44
  Speaker 2: reason why Qubic changed the number of the room from
• 53:49
  Speaker 2: two seventeen to two thirty seven. It was room two
• 53:53
  Speaker 2: seventeen in Stephen King's novel, and cubric changed it to
• 53:59
  Speaker 2: Room two thirty seven. Here's the Shining Toy Story reference
• 54:06
  Speaker 2: the Toy Story. The director of Toy Story put this
• 54:11
  Speaker 2: the Shining carpet in Toy Story, which then is just
• 54:14
  Speaker 2: a coincidence that Buzz light Year is basically revolves around
• 54:20
  Speaker 2: the main character, Buzz, finding out that he's a fake astronaut.
• 54:25
  Speaker 1: And of course what he is Tom Hanks.
• 54:28
  Speaker 2: Exactly Boom boom baby, that's how we do it.
• 54:35
  Speaker 8: Uh.
• 54:35
  Speaker 2: Then the TVs or TV's and appliances, but then the
• 54:38
  Speaker 2: shining are shown not to be plugged into anything. And
• 54:42
  Speaker 2: this could be you know, Kubrick putting that in there symbolically,
• 54:47
  Speaker 2: because if he did indeed fake the moon landing, then
• 54:51
  Speaker 2: that would be a giant MK ultra operation upon the public.
• 54:56
  Speaker 2: And he's putting he's not, you know, showing these tv
• 55:00
  Speaker 2: with having any kind of obvious power source, because the
• 55:03
  Speaker 2: footage of the moon landing would not have been live
• 55:07
  Speaker 2: as it was purported to be, you know, live to everyone,
• 55:12
  Speaker 2: you know, two hundred and fifty thousand miles away from Earth,
• 55:16
  Speaker 2: somehow we can get a live feed of them landing
• 55:18
  Speaker 2: on the Moon. So it would have been a reported
• 55:24
  Speaker 2: you know, it would have been a taping. They would
• 55:26
  Speaker 2: have been showing like a taping of an event that
• 55:32
  Speaker 2: Stanley Kubrick may or may not have been involved with doing.
• 55:36
  Speaker 2: And during two thousand and one of Space Odyssey, I mean,
• 55:39
  Speaker 2: because people say, well, well, he couldn't have faked the
• 55:42
  Speaker 2: moon landing. The moon landing couldn't be faked because so
• 55:44
  Speaker 2: many people would have had to have been in it,
• 55:46
  Speaker 2: And I'm like, well, they wouldn't have They Kubrick literally
• 55:50
  Speaker 2: could have just shot some extra scenes to for two
• 55:55
  Speaker 2: thousand and one Space Odyssey, which is all about space
• 55:59
  Speaker 2: that were using technology that had never really been used
• 56:03
  Speaker 2: before in movies with front screen projection, and he could
• 56:07
  Speaker 2: have just you know, filmed some extra scenes while they
• 56:10
  Speaker 2: were filming two thousand and one of Space Odyssey. The
• 56:12
  Speaker 2: actors would never have known, the people that were on
• 56:15
  Speaker 2: set would never have known. He'd have been the only
• 56:18
  Speaker 2: one to see the footage because Kubrick was known for
• 56:20
  Speaker 2: any scenes that he didn't use, any outtakes, any scenes
• 56:25
  Speaker 2: that weren't in the movie, he would just destroy them.
• 56:28
  Speaker 2: He'd just destroy all the extra footage, outtakes, anything that
• 56:33
  Speaker 2: wasn't in the movie, he would destroy it. So it's
• 56:36
  Speaker 2: a high possibility that he could have shot bonus extra
• 56:41
  Speaker 2: scenes for two thousand and one Space Odyssey not toll
• 56:43
  Speaker 2: the actors, and then that those extra bonus scenes became
• 56:47
  Speaker 2: the moon landing footage that everybody seen. And he's trying
• 56:53
  Speaker 2: to tell you by throwing you know, these TVs not
• 56:57
  Speaker 2: having any cables or any thing running to him, so
• 57:00
  Speaker 2: they're basically watching nothing, just like, yeah, the moonlanding. This
• 57:09
  Speaker 2: one's interesting because this is when Almond Stuart Ormand which
• 57:14
  Speaker 2: he looks a lot like JFK. He tells Jack that
• 57:21
  Speaker 2: this is another dialogue error within the movie. He tells
• 57:24
  Speaker 2: Jack that the previous caretaker, which is done here at
• 57:27
  Speaker 2: the right side panel, his name was Charles Grady. But
• 57:31
  Speaker 2: whenever Jack meets Grady in the bathroom and he spills
• 57:35
  Speaker 2: alcohol and I'm just trying to clean Jack up, Grady
• 57:39
  Speaker 2: refers to himself as Delbert Grady, not Charles Grady, Delbert Grady.
• 57:51
  Speaker 2: This one is a really interesting. This one's wild. I
• 57:54
  Speaker 2: don't know how this one slipped by so many people
• 58:00
  Speaker 2: that had to have seen it. Has to had to
• 58:03
  Speaker 2: have been done on purpose too, Like I was mentioning earlier,
• 58:07
  Speaker 2: taking you know, people into you know, starting to question
• 58:11
  Speaker 2: their reality, just as Jack is starting to question his reality,
• 58:14
  Speaker 2: to symbolically give you that feeling like something is not
• 58:18
  Speaker 2: right with this movie and affecting your subconscious on a
• 58:22
  Speaker 2: level that you wouldn't even notice. Because this is a
• 58:25
  Speaker 2: scene when Hollarin is giving a tour to Indy and
• 58:29
  Speaker 2: Danny before they go into the storage room. This is
• 58:32
  Speaker 2: the freezer room. This is the door to the freezer room,
• 58:37
  Speaker 2: and right here on the right you see where the
• 58:40
  Speaker 2: handle is, right where my cursor is where this top
• 58:42
  Speaker 2: arrow is pointing down. The handle to the freezer room
• 58:46
  Speaker 2: is on the right side of the door. Then, whenever
• 58:50
  Speaker 2: they walk out of the freezer room on this second
• 58:54
  Speaker 2: photo down here, the handle is on the left side
• 58:57
  Speaker 2: of the door and the background is completely different. This
• 59:05
  Speaker 2: first image before they walk into the freezer looks like
• 59:08
  Speaker 2: kitchen area. There's a chalkboard in the background, there's a
• 59:11
  Speaker 2: bunch of these dishes, which looks like a cart with
• 59:13
  Speaker 2: plates and stuff on it. And whenever they walk out
• 59:16
  Speaker 2: of the freezer room, the set is completely different. It's
• 59:20
  Speaker 2: got two double doors here, it's got a fire alarm
• 59:24
  Speaker 2: on the wall, it's got these light what looks like
• 59:26
  Speaker 2: light switches over here. There's a door panel, a window
• 59:31
  Speaker 2: panel here where the chalkboard was before they walked in.
• 59:37
  Speaker 2: So this is a this is a glaring, huge mistake.
• 59:41
  Speaker 2: This is this is a this is a completely different set.
• 59:45
  Speaker 2: And people try to say, well, it's just shot from
• 59:48
  Speaker 2: the other side. Well, if it was shot from the
• 59:49
  Speaker 2: other side, that doesn't change the side that the door
• 59:52
  Speaker 2: handle is on on the freezer. Yep, it's impossible. Even
• 59:58
  Speaker 2: if it was shot from the other haven't change the
• 1:00:00
  Speaker 2: side of the door hand. The handle of the door is.
• 1:00:04
  Speaker 1: Not it's going to start the s It's just a
• 1:00:06
  Speaker 1: different perspective, totally.
• 1:00:10
  Speaker 5: Uh.
• 1:00:10
  Speaker 2: This is the Shining.
• 1:00:12
  Speaker 8: Uh.
• 1:00:12
  Speaker 2: Beatles references throughout the movie. There's so many Beatles references
• 1:00:20
  Speaker 2: in the Shining. This is the Abby Road Beatles Abbey
• 1:00:25
  Speaker 2: Road album artwork which back here is a white Beatle,
• 1:00:30
  Speaker 2: which was John Lennon's White Beatle that he purchased and
• 1:00:35
  Speaker 2: they're all doing the exact same walk through.
• 1:00:42
  Speaker 1: Yeah, and that that album covered two Paul McCartney's Got
• 1:00:45
  Speaker 1: No Shoes, and that that's being speculated that they're trying
• 1:00:49
  Speaker 1: to tell people that Paul was dead and he's been replaced.
• 1:00:54
  Speaker 2: And then also by the the name on the license
• 1:00:58
  Speaker 2: plate of the Beatle too, I think has something to
• 1:01:00
  Speaker 2: do with Paul McCartney also being deb But there's so much.
• 1:01:06
  Speaker 2: There's things to do with Beatles and the band, the
• 1:01:09
  Speaker 2: Beatles and Volkswagen Beetles within the Shining because Stephen King
• 1:01:15
  Speaker 2: his original collar of the beetle that Jack drives in
• 1:01:18
  Speaker 2: the novel is a red beetle. Cubic change the collar
• 1:01:22
  Speaker 2: to a yellow beetle, which is seen here in the
• 1:01:24
  Speaker 2: right top or right panel. And then when Hollerin is
• 1:01:28
  Speaker 2: driving up to the overlook to see what's going on
• 1:01:31
  Speaker 2: up there, when when he gets psychic visions from Danny,
• 1:01:34
  Speaker 2: there's a red Volkswagen Beetle. This's crushingnderneath a semi track.
• 1:01:40
  Speaker 1: I can't believe he caught that, that's saying, He's just
• 1:01:43
  Speaker 1: it goes by so fast, because I'd say the dark
• 1:01:46
  Speaker 1: eye before I saw that saying and asked, just like,
• 1:01:48
  Speaker 1: how did you catch that? That's crazy?
• 1:01:52
  Speaker 2: And then there's more well, and then you also have
• 1:01:54
  Speaker 2: the beetle in the background of the Abbey Road and
• 1:01:59
  Speaker 2: shot I was talking about as well. But also Stephen
• 1:02:04
  Speaker 2: King got the idea to title his book The Shining
• 1:02:10
  Speaker 2: from a John Lennon song called Instant Karma, where the
• 1:02:17
  Speaker 2: song goes, you know, we all shine on and that's
• 1:02:20
  Speaker 2: where he got the inspiration. So he got the inspiration
• 1:02:25
  Speaker 2: to call it The Shining as wild connections insane. And
• 1:02:31
  Speaker 2: then also within The Shining you have Wendy reading Catcher
• 1:02:38
  Speaker 2: in the rhyme, which Catcher in the Rye has been
• 1:02:42
  Speaker 2: identified as an mk Ultra Manchurian candidate style trigger for assassinations.
• 1:02:49
  Speaker 2: And John Lennon was murdered less than a year after
• 1:02:54
  Speaker 2: the release of The Shining and Mark David Chapman was
• 1:02:58
  Speaker 2: reading Catcher in the Rye on the scene when the
• 1:03:02
  Speaker 2: police showed up after he had shot Lennon. And whenever
• 1:03:04
  Speaker 2: he went to court to testify to the reason that
• 1:03:09
  Speaker 2: he shot John Lennon, he stood up and he said,
• 1:03:13
  Speaker 2: if you want my defense, all you gotta do is
• 1:03:16
  Speaker 2: recatch her in the Rye and then There's another assassination
• 1:03:19
  Speaker 2: that happened, happened less than the year the release of
• 1:03:22
  Speaker 2: The Shining two, which was John Hinckley Junior attempted assassination
• 1:03:26
  Speaker 2: on Ronald Reagan where Catcher in the Rye was also
• 1:03:31
  Speaker 2: at the scene. And John Hinckley Jr. Has actually been
• 1:03:35
  Speaker 2: released from Prision and he has a YouTube channel where
• 1:03:37
  Speaker 2: he talks about folk music. Yeah, a little interesting tedbit there,
• 1:03:45
  Speaker 2: and uh, I don't think I have the slide in
• 1:03:49
  Speaker 2: here yet, but it's another Beatles reference in here? Is
• 1:03:58
  Speaker 2: that Stephen King, well not Stephen King. Sorry. Stanley Kubrick
• 1:04:05
  Speaker 2: was reported to uh be in talks to direct Lord
• 1:04:10
  Speaker 2: of the Rings, okay, and the Beatles were all all
• 1:04:16
  Speaker 2: the Beatles were going to be in this Lord of
• 1:04:18
  Speaker 2: the Rings Stanley Kubrick film adaptation, and they were going
• 1:04:22
  Speaker 2: to play the Hobbits. It was wild. You had all
• 1:04:29
  Speaker 2: the connections to the Beatles and you hear it and
• 1:04:32
  Speaker 2: c Break declined it because he said that it was
• 1:04:35
  Speaker 2: basically unfilmable at that time because special effects hadn't you know,
• 1:04:40
  Speaker 2: become advanced enough. And it later landed in uh on
• 1:04:43
  Speaker 2: on Peter Jackson and Peter Jackson obviously you know directed
• 1:04:47
  Speaker 2: the three Lord of the Rings movies. But here's another
• 1:04:51
  Speaker 2: continuity era as well, which is when Danny and uh
• 1:04:57
  Speaker 2: Wendy go into the bathroom before Jack goes in, there's
• 1:05:04
  Speaker 2: a lamp with a lampshade on the nightstand that is crooked,
• 1:05:09
  Speaker 2: and then when Jack breaks down that first door to
• 1:05:13
  Speaker 2: get into the apartment, the lamp shade is straight. This
• 1:05:19
  Speaker 2: one's another really interesting one that other people have pointed
• 1:05:21
  Speaker 2: out before, which is when Jack is breaking down the
• 1:05:25
  Speaker 2: door to the bathroom and he puts his face through
• 1:05:28
  Speaker 2: there and utters the famous line you know here, Johnny
• 1:05:31
  Speaker 2: that everybody knows about. He only breaks down one of
• 1:05:36
  Speaker 2: the quarter panels of the door. Yeah. And then when
• 1:05:41
  Speaker 2: Holleren pulls up and the SnowCat on top of the
• 1:05:44
  Speaker 2: mountain and he hears Holleren pull up, he turns around
• 1:05:46
  Speaker 2: and the shot changes and the other side of the
• 1:05:50
  Speaker 2: door panel has also been destroyed. And this is the
• 1:05:57
  Speaker 2: mother daddy of them that we've put together. And several
• 1:06:03
  Speaker 2: people have seen this poster. We're not the first person.
• 1:06:06
  Speaker 2: The first people to see this poster in the background
• 1:06:09
  Speaker 2: when Danny sees the twins for the first time in
• 1:06:11
  Speaker 2: the games room, but they've all gotten what the poster
• 1:06:15
  Speaker 2: means wrong. They think that it's referencing Monarch Mountain in Colorado,
• 1:06:21
  Speaker 2: or that this guy in the background which is of
• 1:06:24
  Speaker 2: a ski the poster is the ski guy. That it's
• 1:06:28
  Speaker 2: actually symbolizing the Menotaur that has something to do with
• 1:06:32
  Speaker 2: Kubrick's the famous Kubrick stare that a lot of the
• 1:06:37
  Speaker 2: actors within Kubrick's films do like Alex and a clockwork
• 1:06:41
  Speaker 2: orange like full metal jacket and the shining where they
• 1:06:46
  Speaker 2: do the head down, eyes tilted up called the Kubrick Stair.
• 1:06:50
  Speaker 2: But what this is really referring to is Monarch c
• 1:06:55
  Speaker 2: I a mind control yep. And this one here other
• 1:07:02
  Speaker 2: people have pointed out at the end of the film,
• 1:07:05
  Speaker 2: whenever the picture on the wall fades from a far
• 1:07:09
  Speaker 2: up picture which is in this top panel to a
• 1:07:11
  Speaker 2: close up shot in the bottom panel. Here for a
• 1:07:14
  Speaker 2: split second, you can see a little Hitler mustache forming
• 1:07:18
  Speaker 2: on Jack's face there and then that also relates to
• 1:07:23
  Speaker 2: what I found in the background of the Gold Room,
• 1:07:27
  Speaker 2: and which is a Nazi swastika which we saw in
• 1:07:32
  Speaker 2: the trailer of this movie. And some people have said
• 1:07:35
  Speaker 2: that I wasn't the first person to see it. I
• 1:07:39
  Speaker 2: believed that I was the first person to see it
• 1:07:42
  Speaker 2: because I never heard anybody talk about it before, So
• 1:07:46
  Speaker 2: I may or may not have been the first person
• 1:07:48
  Speaker 2: to see it, who knows, But I was really proud
• 1:07:51
  Speaker 2: whenever I found it because the only way that I
• 1:07:53
  Speaker 2: seen it was, you know, I watched the Shining on
• 1:07:56
  Speaker 2: the big screen. It was doing a ree showing retelling
• 1:08:01
  Speaker 2: of it. Well not a retelling, but the movie theater
• 1:08:06
  Speaker 2: that was close to where I lived last year was
• 1:08:10
  Speaker 2: doing a Halloween special and they were show reshowing the
• 1:08:12
  Speaker 2: Shining and we went to the theater and watched it
• 1:08:15
  Speaker 2: on the big screen, and that's how I was able
• 1:08:16
  Speaker 2: to see the Nazi swastika in the background. And that
• 1:08:22
  Speaker 2: is the end of the presentation. I hope people enjoyed it.
• 1:08:25
  Speaker 2: Those were some bonus things that was not in the movie,
• 1:08:31
  Speaker 2: and we could have made the movie like four hours
• 1:08:34
  Speaker 2: long easily. I mean, it could have spent just you know,
• 1:08:38
  Speaker 2: two or three hours alone on all of the different
• 1:08:42
  Speaker 2: continuity as within the Shining and like talking about them.
• 1:08:46
  Speaker 1: But yep, yeah, man, that's crazy that there's so many
• 1:08:51
  Speaker 1: and so many that just obviously deliberate, you know, And
• 1:08:56
  Speaker 1: I'm not to say it's a bit of a thing
• 1:08:58
  Speaker 1: with latch in there. You know, a lot switches the lamp.
• 1:09:04
  Speaker 1: You know that the was dopey, you know, dope. It's
• 1:09:09
  Speaker 1: it's like call these you know, errors actually have a
• 1:09:12
  Speaker 1: bit of a meaning to them as well, which is interesting.
• 1:09:17
  Speaker 2: Yeah, double double and triple meanings. It's all really symbolic.
• 1:09:23
  Speaker 2: And that's what Kubrick wanted to do with all of
• 1:09:24
  Speaker 2: his movies. Like, he didn't want to come out and
• 1:09:26
  Speaker 2: not write tell you what the movie was actually about.
• 1:09:30
  Speaker 2: That's why he avoided doing interviews. He would you know,
• 1:09:35
  Speaker 2: he wanted the audience to come up with their own
• 1:09:38
  Speaker 2: theories and their own ideas as to what his movies
• 1:09:43
  Speaker 2: were really about. And that's why we one hundred percent
• 1:09:46
  Speaker 2: believe that these which we have a minute long audio
• 1:09:54
  Speaker 2: clip of Cubriic talking during the credits of our movie
• 1:09:57
  Speaker 2: where he's explaining all this, where he's like, you know,
• 1:10:01
  Speaker 2: I want the audience to figure out if this was
• 1:10:03
  Speaker 2: deliberate or if it wasn't deliberate, but just having the
• 1:10:08
  Speaker 2: awareness to know that there's these mistakes in your movie.
• 1:10:12
  Speaker 2: It's deliberate, it's done on purpose.
• 1:10:16
  Speaker 1: Yeah, us, especially you know with someone like Qubick, like
• 1:10:19
  Speaker 1: you said, like with in the Inside of the Bomber,
• 1:10:23
  Speaker 1: like he was so meticulous to get it absolutely perfect,
• 1:10:26
  Speaker 1: and then what then he just completely forgets that in
• 1:10:29
  Speaker 1: another movie and he's just I go, well, you know,
• 1:10:32
  Speaker 1: and you know the carpets seen clearly they've turned him
• 1:10:35
  Speaker 1: around or they've done something to the carpet and set
• 1:10:38
  Speaker 1: up you know, the little toys exactly the same. So,
• 1:10:41
  Speaker 1: I mean it's deliberate, right, It's not like it just
• 1:10:45
  Speaker 1: a whoops, you know, we shot it in the wrong studios,
• 1:10:48
  Speaker 1: because you know, all these would have been stages that
• 1:10:51
  Speaker 1: were built right, sets that were built, so it's it's yeah,
• 1:10:56
  Speaker 1: it's definitely definitely deliberate. So yeah, man, I mean that's
• 1:11:02
  Speaker 1: some of those things are compilated that you you've called
• 1:11:05
  Speaker 1: you must have seen that video a lot of times. Man,
• 1:11:07
  Speaker 1: I'll probably say it once, but.
• 1:11:10
  Speaker 2: Well, some of those were things that other people had seen,
• 1:11:14
  Speaker 2: uh seen prior to us that I've just included in
• 1:11:20
  Speaker 2: there as well. So I can't take credit for all
• 1:11:24
  Speaker 2: of it. But yeah, it's incredible how how many there
• 1:11:29
  Speaker 2: are in the in the dialogue errors in there too,
• 1:11:32
  Speaker 2: because it's just not with things disappearing and reappearing. It's
• 1:11:38
  Speaker 2: it's also within the dialogue of the characters. And there's
• 1:11:41
  Speaker 2: only one reason that that you would do it like that,
• 1:11:46
  Speaker 2: that it's a that it's an experiment. And you'll realize
• 1:11:49
  Speaker 2: when you watch our movie the Clockwork Shining, that why
• 1:11:54
  Speaker 2: all of those are there, and everything starts to make sense.
• 1:11:58
  Speaker 2: The bear costume makes sense. All the stuff that's going
• 1:12:02
  Speaker 2: on is makes complete sense. And you know, the CIA
• 1:12:08
  Speaker 2: was known for for spiking alcoholic drinks with hallucinogenic drugs.
• 1:12:16
  Speaker 2: I mean, there's real life examples of that. Frank Olsen
• 1:12:21
  Speaker 2: happened to Frank Olson. Some of the first MK Ultra
• 1:12:24
  Speaker 2: programs were done on the Army Army personnel, Army volunteer personnel,
• 1:12:30
  Speaker 2: and they were used They used a drug that was
• 1:12:33
  Speaker 2: like one hundred times more powerful than LSD. They would
• 1:12:35
  Speaker 2: literally put these army volunteers out of their mind for
• 1:12:40
  Speaker 2: weeks out of time. And a lot of that was
• 1:12:42
  Speaker 2: aerosol was that was hallucinogenic aerosol called BZ and they
• 1:12:49
  Speaker 2: would even do open field testing with it. They would
• 1:12:51
  Speaker 2: go out and simulate a battle position and then just
• 1:12:54
  Speaker 2: have barrels and barrels of aerosolized BZ hallucinogenic drug just
• 1:13:00
  Speaker 2: spreen on all of these army personnel.
• 1:13:04
  Speaker 1: Yeah, that's that's crazy because that was also like the
• 1:13:08
  Speaker 1: drug that was introduced to the whole hippie movement, right,
• 1:13:10
  Speaker 1: and the whole Laurel Canyon connection there. So yeah, it's crazy.
• 1:13:18
  Speaker 1: That's the thing about your DOCCA. There's so many connections
• 1:13:22
  Speaker 1: that connects up so many different things, which I found,
• 1:13:26
  Speaker 1: you know, really interesting. So it's a it's a really
• 1:13:28
  Speaker 1: good watch guy, so definitely recommend going and checking it out.
• 1:13:33
  Speaker 1: You know, the whole music thing, and I think, you know,
• 1:13:35
  Speaker 1: Mark Devlyn's done a good job over the last few
• 1:13:38
  Speaker 1: years of exposing the whole music scene and that that's
• 1:13:42
  Speaker 1: and we can see it today, right, it's now turned
• 1:13:44
  Speaker 1: into you know, bloody satanic rituals on stage, right, and
• 1:13:49
  Speaker 1: and you know, like mass hypnosis and all this stuff.
• 1:13:52
  Speaker 1: So it's it's it's interesting, you know from the point
• 1:13:56
  Speaker 1: of view of you know, Kubrick's movie and what was
• 1:13:59
  Speaker 1: going on back then, but also that this is what
• 1:14:01
  Speaker 1: we're living in, you know, this is what it looks like. Right,
• 1:14:04
  Speaker 1: they're literally trying to mass control, mind control the whole population.
• 1:14:09
  Speaker 1: Now you know, they're putting drugs in all the food,
• 1:14:13
  Speaker 1: they're putting you know, violence all over the thing. They're
• 1:14:15
  Speaker 1: introducing little kids to know first shooter video games and
• 1:14:21
  Speaker 1: you know, desensitizing them, and it's just it's really good
• 1:14:26
  Speaker 1: to just get a bigger perspective on where we are
• 1:14:29
  Speaker 1: right now and what's actually going on. So No, well
• 1:14:32
  Speaker 1: done to you and Jay for creating a man. It's
• 1:14:35
  Speaker 1: a really good watch.
• 1:14:37
  Speaker 2: Thank you. I really appreciate that. And yeah, it does
• 1:14:40
  Speaker 2: tie into, you know, everything that's going on right now
• 1:14:43
  Speaker 2: and still going on with Britney Spears. I don't know
• 1:14:45
  Speaker 2: if you've seen in the Britney Spears video that came
• 1:14:48
  Speaker 2: out on Monday on her birthday, where she's on there
• 1:14:51
  Speaker 2: and she's like, I'm not turning. How old does she say?
• 1:14:53
  Speaker 2: Forty two? Is either forty one or forty two or
• 1:14:55
  Speaker 2: whatever she says, I'm not turning whatever age that she is.
• 1:14:58
  Speaker 2: I think it's forty forty one. I'm not. It's not
• 1:15:03
  Speaker 2: my birthday. I'm actually five years old. I'm going to
• 1:15:07
  Speaker 2: kindergarten tomorrow.
• 1:15:10
  Speaker 1: Yeah what, Oh my god. I haven't seen that, but
• 1:15:14
  Speaker 1: I've seen that she's done some weird dancing ones, but
• 1:15:17
  Speaker 1: also that famous interview where she just starts talking like
• 1:15:23
  Speaker 1: kind of gibberish, right, and she's like, oh, oh no,
• 1:15:26
  Speaker 1: what's happening. Oh oh, there we go, you know, like
• 1:15:29
  Speaker 1: is it with Diane Sawyer and she just kind of
• 1:15:32
  Speaker 1: loses her mind there for a bit.
• 1:15:35
  Speaker 2: Yeah, yeah, yeah.
• 1:15:41
  Speaker 1: And then of course the whole you know, the Diddler, right,
• 1:15:45
  Speaker 1: that's come out recently and all the sort of information
• 1:15:49
  Speaker 1: that's starting to pour out about that, and it's the
• 1:15:52
  Speaker 1: same story, right, It's it's the whole sort of mind
• 1:15:56
  Speaker 1: controlled trauma thing, and they're doing it to all these
• 1:15:59
  Speaker 1: pop stuff as that that are clearly put up because
• 1:16:02
  Speaker 1: you know, like you've mentioned before, like there's so many
• 1:16:05
  Speaker 1: good musicians out there and singers and songwriters, but you know,
• 1:16:09
  Speaker 1: unless you've got connections, mate, you're not getting on the
• 1:16:11
  Speaker 1: world stage.
• 1:16:12
  Speaker 2: Right.
• 1:16:12
  Speaker 1: The ones that are put up there are put up
• 1:16:14
  Speaker 1: there for a reason, which means that they do what
• 1:16:17
  Speaker 1: they're told. And clearly it looks like they all have
• 1:16:20
  Speaker 1: to go through their rituals right before they make the grade.
• 1:16:25
  Speaker 2: And that's a big thing about Stanley Kubrick as well.
• 1:16:27
  Speaker 2: Supposedly out the during the filming of I's White Shot,
• 1:16:30
  Speaker 2: kubric me, Tom Cruise put on a dress and like
• 1:16:34
  Speaker 2: the US being dress, the dress rituals, the humiliation humiliation
• 1:16:45
  Speaker 2: rituals and all that like and yes, it's it's freaking wild.
• 1:16:49
  Speaker 2: But here's the Britney Spears most recent thing when Britney Spears.
• 1:16:55
  Speaker 2: This was on Monday, which I don't know when you're
• 1:16:57
  Speaker 2: going to release this episode. This was Monday, the hold on,
• 1:17:04
  Speaker 2: let me Monday. Look at the calendar real quick and
• 1:17:08
  Speaker 2: find what date that was so I can make sure
• 1:17:11
  Speaker 2: and get it accurate. Okay, this was on Monday the second,
• 1:17:13
  Speaker 2: So Monday the second was her birthday and she released
• 1:17:16
  Speaker 2: this video.
• 1:17:18
  Speaker 9: But anyways, it's my birthday. I'm not turning forty two.
• 1:17:22
  Speaker 9: I'm turning the five this year. I'm turning five years
• 1:17:26
  Speaker 9: old and I have to go to kindergarten tomorrow.
• 1:17:32
  Speaker 10: Baby Strawberry, a very very cute baby baby cake that
• 1:17:37
  Speaker 10: my old friend. It really kind of hurts my feelings
• 1:17:40
  Speaker 10: that the paparazzi make my face look like I'm wearing
• 1:17:43
  Speaker 10: like a white Jason mask and it doesn't even look
• 1:17:46
  Speaker 10: like me.
• 1:17:47
  Speaker 9: They've always been incredibly cruel to me, the paparazzi and
• 1:17:53
  Speaker 9: pictures and the way they've illustrated me to be in
• 1:17:58
  Speaker 9: some of it. I know I'm not perfect at all
• 1:18:01
  Speaker 9: by any means, but some of it is extremely mean
• 1:18:05
  Speaker 9: and cruel, and that's why I've moved to Mexico.
• 1:18:11
  Speaker 1: What yeah, Oh my god, that's just craepy.
• 1:18:19
  Speaker 2: Wild, isn't it.
• 1:18:20
  Speaker 1: God, I'm out decide that that like just yeah, wow, manufacturing, Man, that.
• 1:18:29
  Speaker 2: Was just that was just like four or four days ago.
• 1:18:34
  Speaker 2: I got the wrong, guys, Okay, don't come after me.
• 1:18:36
  Speaker 2: She was forty she's twenty forty two. What did I
• 1:18:38
  Speaker 2: say forty one? It's forty one or forty two? Okay,
• 1:18:41
  Speaker 2: my bad. I got a lot of stuff in my
• 1:18:43
  Speaker 2: brain that I got to remember. But I knew it
• 1:18:45
  Speaker 2: was around that time.
• 1:18:48
  Speaker 1: And she's got ties to the military as well, hasn't
• 1:18:50
  Speaker 1: she military?
• 1:18:53
  Speaker 2: Disney? She was ade what was the Disney what were
• 1:18:58
  Speaker 2: they called the Musketeers or.
• 1:19:01
  Speaker 1: The Matt Mouseketeers. Musketeers with Timberlake and Christina Aguilera and
• 1:19:07
  Speaker 1: a lot of these people that came out at the
• 1:19:10
  Speaker 1: same time. It's yeah, man, it's just a lot to
• 1:19:16
  Speaker 1: think about, man, I mean, it's yeah, Doca said, that's
• 1:19:18
  Speaker 1: why the documentary is so good is it just ties
• 1:19:21
  Speaker 1: so many things together and then makes you start getting
• 1:19:25
  Speaker 1: all these other connections, you know, with all the information
• 1:19:27
  Speaker 1: that we've sort of gathered over the last you know,
• 1:19:30
  Speaker 1: have a long people been looking into alternative research. It's
• 1:19:35
  Speaker 1: it really makes you sort of see the bigger picture
• 1:19:38
  Speaker 1: and start to connect a lot of dots. So again,
• 1:19:41
  Speaker 1: guys worth worth checking out. We'll leave the link below
• 1:19:44
  Speaker 1: so you can go and have a watch for yourself,
• 1:19:47
  Speaker 1: and I recommend that you do.
• 1:19:50
  Speaker 2: Thank you very much, Campbell, really appreciated. Please support our
• 1:19:54
  Speaker 2: documentary so we can continue making films. This is one
• 1:19:58
  Speaker 2: completely independent We don't don't have, you know, any of
• 1:20:01
  Speaker 2: these big contracts. We don't have a Netflix deal or
• 1:20:06
  Speaker 2: anything like that, so we're completely self funded. So the
• 1:20:09
  Speaker 2: more that you guys, you know, watch our movies that
• 1:20:12
  Speaker 2: are out that you can rent or purchase, please do
• 1:20:16
  Speaker 2: because it supports us in the future so that we
• 1:20:18
  Speaker 2: can continue to make really good documentaries and independent films
• 1:20:22
  Speaker 2: that way, because obviously Hollywood is over. It's it's a
• 1:20:26
  Speaker 2: rehashing of old garbage that Hollywood has just been pumping
• 1:20:29
  Speaker 2: out for years and years and years. They're just doing requels, sequels, prequels,
• 1:20:34
  Speaker 2: you know, recognizable IP type of movies that that isn't
• 1:20:39
  Speaker 2: anything new, and they're starting to get into the TV
• 1:20:42
  Speaker 2: show industry with that too, so they're getting ready to
• 1:20:44
  Speaker 2: take over the TV industry as well with reboots and
• 1:20:48
  Speaker 2: sequels and recognizable IP. So please support independent film and
• 1:20:54
  Speaker 2: get out there and try and purchase our documentary that
• 1:20:59
  Speaker 2: we put a lot of work and effort into making.
• 1:21:02
  Speaker 2: And also if you'd like to reach out to me personally,
• 1:21:04
  Speaker 2: I'm on x on Raised by Giants Seed and on
• 1:21:10
  Speaker 2: Instagram at Raised by Jiants pod and in and all
• 1:21:12
  Speaker 2: podcast platforms and YouTube. Thanks so much for having me
• 1:21:16
  Speaker 2: on Campbell.
• 1:21:16
  Speaker 1: Appreciate it, brother, thank you, thank you. And we'll leave
• 1:21:20
  Speaker 1: all the links below. I'll leave the link to your
• 1:21:22
  Speaker 1: JFK as well at your first documentary. And yeah, you know, guys,
• 1:21:27
  Speaker 1: support what you love, right, you know, we're all after
• 1:21:30
  Speaker 1: the truth. So if you want more of that, support
• 1:21:33
  Speaker 1: the people that are out there doing it. And like
• 1:21:35
  Speaker 1: writer said, you know, all the support from this documentary
• 1:21:38
  Speaker 1: will help him go on and make more right, make
• 1:21:40
  Speaker 1: more really good real, you know, made by the people
• 1:21:44
  Speaker 1: information that that you know is is not the Hollywood right,
• 1:21:48
  Speaker 1: it's not the spellcasters, you know, the whole Hollywood wand
• 1:21:51
  Speaker 1: you know, cast of actors, all that kind of stuff
• 1:21:54
  Speaker 1: where I think we're all done with that. So yeah, man,
• 1:21:56
  Speaker 1: thanks for being here. It was really good. I really
• 1:21:59
  Speaker 1: enjoyed that, And I can't recommend you a doco enough,
• 1:22:02
  Speaker 1: so links below, guys, go and check it out.